尼采的游戏——对一种喻像的几个文本考察  

Nietzsche's Game——Notes on a Central Metaphor of Nietzsche's Philosophy

作　　者：余明锋[1] YU Mingfeng(Department of Philosophy, Tongji University, Shanghai 200092, China)

机构地区：[1]同济大学哲学系,上海200092

出　　处：《同济大学学报（社会科学版）》2019年第1期20-30,共11页Journal of Tongji University:Social Science Edition

基　　金：上海市浦江人才项目"尼采与启蒙问题研究"(项目编号:17Pjc108)

摘　　要：文章首先说明了游戏在尼采成熟的哲学立场中的重要位置;进而集中于早期尼采,特别是《悲剧的诞生》和《希腊悲剧时代的哲学》,试图勾勒出尼采思想发展中的一条隐蔽线索。通过分析《希腊悲剧时代的哲学》中的赫拉克利特式世界游戏,文章指出,尼采所谓的"审美之人"并非一般意义上的艺术家或审美观众,而是能用既严肃投入又超越静观的双重视角来看待生命的人。狄奥尼索斯状态基于主体的变形,《悲剧的诞生》中对生命的审美证成和审美救赎正是基于这种变形,就此而言,《悲剧的诞生》已然开始游戏,但其中仍有不彻底处。只有通过"希腊悲剧哲学",通过对阿那克西曼德和赫拉克利特的细致辨析,尼采才真正超越叔本华。在尼采的解释中,叔本华是一位现代的阿那克西曼德,而他自己则是一位现代的赫拉克利特。通过赫拉克利特,尼采才克服了艺术形而上学中的二元论预设。彻底的游戏用双重视角取代二元论,取消而非满足救赎需要,如此才真正克服了悲观主义。This paper firstly explains the important position of game in Nietzsche’s mature philosophy stand. It then focuses on Nietzsche’s early works, especially on The Birth of Tragedy (BT) and Philosophy in the Tragic Age of the Greeks , in an attempt to outline a hidden clue in the development of Nietzsche’s thought. By analyzing Heraclitus’ world game in Philosophy in the Tragic Age of the Greeks , this paper points out that Nietzsche’s so-called “aesthetic person” is not an artist or an aesthetic audience in general sense, but a person who can view life from a dual perspective of both serious absorption and transcendence of contemplation. The Dionysian spirit is based on this transformation of the subject, which is the basis of the aesthetic justification of life and aesthetic salvation in The Birth of Tragedy . In that sense, The Birth of Tragedy is already in the game, but its standpoint is still problematic. Only through “the Greek tragic philosophy”, through a detailed analysis of Anaximander and Heraclitus, can Nietzsche really surpass Schopenhauer. In Nietzsche’s interpretation, Schopenhauer is a modern Anaximander and he himself is a modern Heraclitus. Only through Heraclitus does Nietzsche overcome the dualistic presupposition of his aesthetic metaphysics. The thoroughgoing game replaces dualism with dual perspective, cancels rather than meets the need for salvation, and thus truly overcomes pessimism.

关 键 词：尼采 游戏 审美救赎 狄奥尼索斯式静观 主体的变形 悲剧哲学 

分 类 号：B516.47[哲学宗教—外国哲学]