尼采与温克尔曼的审美启蒙  

The Aesthetic Enlightenment of Nietzsche and Winckelmann

作　　者：余明锋 Yu Mingfeng

机构地区：[1]同济大学人文学院,上海200092

出　　处：《复印报刊资料（美学）》2023年第5期107-117,共11页Aesthetics

基　　金：上海市哲学社会科学规划一般课题“尼采与现代德国美育思想研究”(2020BZX008)。

摘　　要：在康德传统和前康德的莱布尼茨-沃尔夫传统之外,德国启蒙还有温克尔曼开启的审美启蒙传统。德国启蒙的审美路线因为多涉及艺术史和文学史而常被狭义上的哲学史忽视。可审美启蒙或“美育”在当下实有不可忽视的意义。温克尔曼的“模仿古人”和卢梭的“返回自然”一样,是对英法启蒙传统的反思。温克尔曼不但在启蒙时代强调文化意识,还通过美化希腊塑造了现代德国的文化认同。真正继承温克尔曼的不是持实证主义立场的维拉莫维茨,而是通过重提希腊问题再次发动审美启蒙的尼采。温克尔曼的阿波罗美学以古典理性主义及其德性理想为内核,是对现代理性主义的深刻批判。尼采则从完全不同的哲学视野出发去谈论阿波罗和狄奥尼索斯。Besides Kant tradition and Leibniz-Wolf tradition,German Enlightenment also has an aesthetic en-lightenment tradition initiated by Winckelmann.Since it incorporates the history of art and literature,the aesthetic line of German Enlightenment is often neglected in the study of the history of philosophy in the strict sense.Yet,aes-thetic enlightenment or"aesthetic education"is of great significance that cannot be ignored.Reflections on the En-lightenment can be seen in Winckelmann's"imitating the ancients"and Rousseau's"returning to nature".Winckel-mann not only emphasized the consciousness of culture in the Age of Enlightenment,but also shaped the cultural iden-tity of modern Germany by beautifying Greece.Nietzsche,instead of Wilamowitz who held a positivist position,inherit-ed the thought of Winckelmann and launched aesthetic enlightenment again by revisiting the Greek issue.Winckel-mann's aesthetics of Apollo took classical rationalism and its virtue ideal as its core,and its aesthetic enlightenment was a severe criticism of modern rationalism.Nietzsche,on the other hand,approached Apollo and Dionysus from a completely different philosophical perspective.

关 键 词：审美启蒙 古典理性主义 阿波罗 狄奥尼索斯 模仿古代 

分 类 号：B83-0[哲学宗教—美学] I01[文学—文学理论]