特里斯坦和弦的回响:瓦格纳与尼采《悲剧的诞生》  

The Echoes of Tristan Chords:Wagner and Nietzsche’s The Birth of Tragedy

作　　者：罗仕平 LUO Shiping(School of Humanities,Tongji University,Shanghai 200092,China)

机构地区：[1]同济大学人文学院,上海200092

出　　处：《同济大学学报（社会科学版）》2024年第1期12-23,共12页Journal of Tongji University:Social Science Edition

基　　金：2022年度国家留学基金委公派研究生项目(202206260244)。

摘　　要：尼采成名作《悲剧的诞生》序言标题即为“致理查德·瓦格纳”。该书的创作深受瓦格纳的影响,但在以往研究之中,此线索并未引起足够重视。瓦格纳复兴北欧神话并以之抵抗现代性的艺术观及其重要代表作《特里斯坦与伊索尔德》中主导动机、无终旋律、半音转调等作曲技法所体现的紧张、冲突、不和谐的美学观,对《悲剧的诞生》无论是在写作风格还是具体思想上都产生了重大影响。不过,早期尼采在盛赞瓦格纳的同时,也小心地与其拉开一定距离,他们对神话、悲剧、绝对音乐、叔本华以及基督教等方面理解的细微差别,为两人关系破裂以及尼采哲学转向埋下了伏笔。The title of Nietzsche’s seminal work The Birth of Tragedy in the preface is“To Richard Wagner”.The creation of the book was heavily influenced by Wagner,but this thread has not been given enough attention in previous studies.Wagner’s artistic perspective of reviving Nordic mythology and using it to resist modernity,as well as the aesthetic perspective of tension,conflict,and dissonance embodied in his important masterpiece Tristan und Isolde have had a significant impact on both the writing style and the specific ideas of Nietzsche’s The Birth of Tragedy.However,Nietzsche,while strongly praising Wagner in early times,was also prudent to distance himself from Wagner.The subtle differences in their understanding of myth,tragedy,absolute music,Schopenhauer,and Christianity sowed the seeds for the rupture of the relationship between the two men and for Nietzsche’s philosophical turn.

关 键 词：特里斯坦 神话 主导动机 无终旋律 半音转调 

分 类 号：J60[艺术—音乐]