现象学视域中的古希腊悲剧——从尼采《悲剧的诞生》谈起

尼采与荷尔德林都认为研究悲剧要从直观着手,但在尼采那个时代直观理论还远不够成熟,这就在一定程度上造成了《悲剧的诞生》“写得很糟,笨拙,艰苦”（尼采语）以及难于理解的状况。当代现象学的发展可以弥补尼采当年找不到合适的理论资源和表达方式的遗憾。运用现象学理论尤其是现象学中的视域理论、悬置理论,可以更清晰、更深刻地解释希腊悲剧中歌队的作用、酒神与日神的本质、悲剧英雄的命运与牺牲的缘由,以及悲剧的本质、艺术与真理的关系等这些文艺学中最重要的问题。

Greek Tragedy in Phenomenological Horizon

Both Nietzsche and Hoelderlin considered that intuition was very important for researching tragedy, however, the theory of intuition at that time was underdeveloped, which resulted at a certain extent in that, as Nietzsche himself said, the book of the Birth of Tragedy was written badly, awkwardly and hard and was difficult to understand. Now the appearance of phenomenological theory may make up Nietzsche＇s regret not to find the right theory and expressing wise. With the phenomenological theory especially the theory of Phenomenological Horizon and Epoche, we can more clearly and deeply explain the function of the chorus, the essence of Apollo and Dionysos, the destiny and sacrifice of the tragic hero, the essence of and the relation between art and truth, etc.