阿波罗的眼光
——尼采美学中的视觉问题
邹建林
提 要
本文主要讨论尼采的视觉概念.根据尼采自己的论述,研究者对他的阐释,以及其他与之相关的视觉理论,本文试图为尼采的视觉思想勾勒一个大致的轮廓.这种梳理主要包括两个方面:一是从外部看尼采与其他视觉理论的联系和区别;二是把视觉问题放到尼采的整个美学中来理解.根据这两个方面的分析,本文把尼采的视觉思想归结一个视觉模式,即"阿波罗式的视觉"或"肉身化视觉".这种视觉模式既不同于传统哲学中以主体为中心,排除欲望的视觉观念,也不同于现代主义中视觉的抽象化和形式化倾向.阿波罗式的视觉主要包括这么几个因素:1,它是从意志的角度得到定义的;2,它所看到的是"假相";3,它是一种身体状态,即"陶醉".这样一种视觉模式是和尼采把整个世界看作一种"审美现象"紧密联系的.
Abstract
This thesis focuses on discussing Nietzsche's conception of vision. Based on the necessary analyzing of the texts by Nietzsche himself, the explanations on him by scholars, and other related theories about vision, the thesis tries to take a survey to Nietzsche's thought of vision. Two main respects are included in the survey: firstly, an exam of the relationship and differences between Nietzsche's idea of vision and other related theories; secondly, a comprehension to Nietzsche's thought of vision from his aesthetics as a whole. According to the analysis of the two respects, Nietzsche's theory of vision is summarized as a mode of vision, which can be called "Apollonian Vision" or "Carnal Vision", "Corporeal Vision". "Apollonian Vision" differs from the classical idea of vision, which is characterized by a desire-excluded subject. It also distinguishes itself from the abstracting and formalizing tendency in the Modernist visional conception. Usually, "Apollonian Vision" includes three moments: 1), It is defined from "Will" (Wille); 2), Its object or content is "Illusion" (Schein); and 3), It is a state or condition of the body, i.e. a kind of "Intoxication" (Rausch). Such a mode of vision is essential to Nietzsche's attempt to regarding the world only as an "aesthetical phenomena".
目 录
引言………………………………………………………………………………1
I.阿波罗:视觉表象的意义……………………………………………………2
II.肉身化的视觉:
尼采与传统视觉理论以及19世纪生理学视觉理论的关系…………………10
III.视觉中的意志和欲望 ……………………………………………………18
IV.绘画:视觉,身体与文化之间的张力……………………………………28
结语:
阿波罗式的视觉在尼采美学中的地位,或日常生活的审美化 ……………38
附图 ……………………………………………………………………………45

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