{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"296fac69-2927-4952-8b17-011f7141a0cd","title":"现代性的哲学话语","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544715829","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"296fac69-2927-4952-8b17-011f7141a0cd","id":"296fac69-2927-4952-8b17-011f7141a0cd","uuid":"296fac69-2927-4952-8b17-011f7141a0cd","title":"现代性的哲学话语","normalized_title":"现代性的哲学话语","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544715829","isbns":["9787544715829"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":463,"navigation_url":"https://workshop.closeclaw.top/ai/book/296fac69-2927-4952-8b17-011f7141a0cd","title_url":"https://workshop.closeclaw.top/ai/title/%E7%8E%B0%E4%BB%A3%E6%80%A7%E7%9A%84%E5%93%B2%E5%AD%A6%E8%AF%9D%E8%AF%AD","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/296fac69-2927-4952-8b17-011f7141a0cd/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/296fac69-2927-4952-8b17-011f7141a0cd/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/296fac69-2927-4952-8b17-011f7141a0cd","page_url":"https://workshop.closeclaw.top/api/ai/books/296fac69-2927-4952-8b17-011f7141a0cd/page","search_url":"https://workshop.closeclaw.top/api/ai/books/296fac69-2927-4952-8b17-011f7141a0cd/search"},"page":{"printed_page":102,"pdf_page":110,"physical_index":110,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"6af785b5981c4344a73f6a091e388ac188f11ff568c818b48a1635c035e1b7d7"},"chapter":"现代性的哲学话语","content":"众所周知，尼采后来一反从前，对瓦格纳的歌剧世界充满了憎恶。尼采背离瓦格纳这一事件，值得重视的，倒不在于其个人的、政治的以及审美的背景，而更多在于问题背后的哲学动机：“一种音乐必须具备怎样的特性，才不再是浪漫主义音乐(如瓦格纳音乐)，而是酒神音乐？”③新的神话观念，就其起源而言是浪漫主义的；依靠作为未来上帝的酒神，同样也是一种浪漫主义观念。尼采固然避免了从浪漫主义角度运用这些新的神话观念，并且宣布了一种看似超越了瓦格纳的更加激进的观点，可是，酒神精神和浪漫主义精神之间究竟有什么区别呢？\n\n2\n\n1796/97年，黑格尔首次系统地提出理性纲领，从中已经可以看到，将出现一种新的神话，认为诗是人类的导师。其中还可以看到后来被尼采和瓦格纳大力标举的那个动机，即在一种经过更新的神话中，艺术应当重新获得公共机制的特征，并释放出修复大众的道德总体性的力量。④谢林在其《先验唯心论体系》的结尾表达的也是这个意思，他写道，新的神话“并不是个别诗人的构想，而是仿佛仅仅扮演一位诗人的一代新人的构想”。①F. 施莱格尔在其《神话论稿》中也说过类似的话：\n\n① 瓦格纳：《作品全编》，第10卷，第172页。\n\n② 尼采：《全集》，第1卷，第56页。\n\n③ 尼采：《悲剧的诞生》，第二版前言《自我批判的尝试》(Versuch einer Selb-stkritik')，载：《全集》，第12卷，第117页。\n\n④ M. 弗朗克：《未来的上帝：新的神话讲稿》(Der kommende Gott. Vorlesun-gen über die neue Mythologie),Frankfurt am Main, 1982,第 180 页以下。\n\n102","previous_page":101,"next_page":103}