尼采《悲剧的诞生》中“歌队”问题探绎  

Some Issues Concerning the “Chorus” in Nietzsche’s The Birth of Tragedy

作　　者：胡友峰[1] 吴冕 Hu Youfeng;Wu Mian(the Center for Literary Theory and Aesthetics at Shandong University,Ji'nan 250100,Shandong Province,China)

机构地区：[1]山东大学文艺美学研究中心

出　　处：《文艺理论研究》2021年第3期123-134,共12页Theoretical Studies in Literature and Art

基　　金：国家社科基金一般项目“西方文学文本理论知识增长的历史与逻辑研究”[项目编号:19BZW022]的阶段性成果。

摘　　要：在《悲剧的诞生》中,尼采从萨提尔歌队和戏剧的原始现象出发,结合自身最真切的审美体验,对悲剧起源和演变作出了大胆的美学解释。悲剧起源于酒神颂,并在诞生过程中以"向日神进发的酒神歌队"这种形式演进。歌队是"形而上的慰藉"这种悲剧效果的载体,使得悲剧作为一种原始的审美体验真正关乎希腊人的生命存在。悲剧随歌队的音乐精神下降一步步走向衰落。尼采企图利用歌队和音乐复活悲剧精神,完成一次希腊传统在现代德国的"嫁接"。通过对萨提尔歌队进行追溯和新解,尼采完成了对悲剧发展脉络的勾勒和对古典语文学的价值重估,并且赋予艺术在生命立场上高于真理的至尊地位。In The Birth of Tragedy, Nietzsche, starting from the Satyr chorus and the original phenomenon of drama with a connection to his own aesthetic experience, offered a provocative aesthetic explanation of the origin and the development of tragedy. Tragedy, according to Nietzsche, originated from the Dithyramb and evolved in the form of "Dionysian chorus heading towards Apollo." The chorus, in which the tragic effect of "metaphysical comfort" was embodied, enabled tragedy to engage in the existence of Greek as a kind of primitive aesthetic experience. As the musical spirit of the chorus diminished, tragedy gradually declined. Nietzsche attempted to revive the tragic spirit via chorus and music, and to complete a "grafting" of the Greek tradition in modern Germany. By tracing and reinterpreting the Satyr chorus, Nietzsche completed the outline of the development of tragedy and revaluation of the classical philology, and placed art on a superior position to truth from the standpoint of life.

关 键 词：悲剧的诞生 尼采 歌队 音乐精神 

分 类 号：I01[文学—文学理论]