论尼采《悲剧的诞生》中的酒神精神

The Dionysian Spirit in Nietzsche's 'The Birth of Tragedy'

余胜蓝(Yu Shenglan) ； 王佳星(Wang Jiaxing)

《东亚学术研究》 六卷第二期（总第十一期） (2021/12) Pp. 39-47

摘要

尼采在其著作《悲剧的诞生》中论述了希腊悲剧的起源，认为这一完美艺术起于两种艺术冲动的融合，即代表造型艺术的日神精神和代表音乐艺术的酒神精神的共同作用。日神精神象征和谐、静穆的幻梦，用幻象掩盖现实的残酷，减轻人们的伤痛；酒神精神代表混沌、狂喜的迷醉，是解放天性本能的原始冲动，能破除旧制度、旧价值的束缚，因此被尼采用来作为对抗苏格拉底理性主义和基督教道德的对立者，以批判这两者对生命的否定以及虚假的乐观主义精神。

關鍵字

尼采 ； 悲剧的诞生 ； 酒神 ； 非理性 ； 反基督教

並列摘要

Nietzsche in his first masterpiece The Birth of Tragedy defended a theory of the origin and function of Greek tragedy which he considered as the perfect art born in the fusion of two artistic drives, that is, the Apollonian spirit, represented by plastic arts or the art of dream, and the Dionysian spirit, manifested in music or the art of drunkenness. Apollo symbolizes harmony, clarity and static beauty and creates illusions that conceals the harsh reality and eases the pain of human beings, whereas Dionysus representing disorder, intoxication and ecstasy, symbolizes primary forces liberating the instinct and nature of individuals, dissolving boundaries and breaking limits, whose spirit hence was favored and used by Nietzsche to criticize the Socratic rationalism and Christian morality for their false optimism and denial of life.

並列關鍵字

Nietzsche ； The Birth of Tragedy ； Dionysus ； irrationalism ； anti-Christianity