尼采与酒神文化

Nietzsche and Dionysian Culture

《悲剧的诞生》构造了一种酒神文化的可能图景。尼采所设想的酒神文化绝非成天饮酒作乐的文化,而是关乎“个体化”的生存处境。尼采将叔本华的“太一”与“个体化原理”神话学化、美学化了。可更重要的是,他一方面强调了个体化原理的破碎所带来的“大欢喜”,克服了叔本华的悲观主义,另一方面又将个体生命苦难及其解脱之道拓展成了历史性的文化创制。沉醉的悲剧死于清醒的科学,尼采将苏格拉底主义揭示为一种清醒的妄念,这种妄念随着康德和叔本华的窥破而转向艺术。诞生-死亡-重生的狄奥尼索斯叙事,既是这部书的基本结构,又是一种面对现代性的后果、批判启蒙的偏颇并开创酒神文化的历史哲学。后期尼采虽放弃了早期的浪漫主义方案,可其重估一切价值的尝试可谓在更深更广的意义上重建酒神文化的努力。

The Birth of Tragedy constructs a possible picture of Dionysian culture.Nietzsche’s Dionysian culture is not a culture of indulging in drinking,but a culture which handle the problem of“individuation”.Nietzsche made Schopenhauer’s“the One”and“principium individuationis”mythological and aesthetic.But more importantly,on the one hand,he emphasized the“great joy”brought by the fragmentation of principium individuationis,overcoming Schopenhauer’s pessimism,on the other hand,he expanded the individual life suffering and the way to get rid of it into a historical cultural creation.The intoxicated tragedy died of sober science.Nietzsche revealed socraticism as a kind of sober delusion,which turned to art with Kant and Schopenhauer’s insight.The birth-death-rebirth narrative of Dionysus is not only the basic structure of the book,but also a historical philosophy of criticizing the bias of enlightenment and creating Dionysian culture in the face of the consequences of modernity.Although Nietzsche gave up the early romantic scheme in the later period,his attempt to revalue all values can be described as an effort to reconstruct Dionysian culture in a deeper and broader sense.