| 中文摘要 |
尼采承繼赫爾德對「美學」（Ästhetik）的理解，進一步開展美學與自由的關聯，藉由美學的進路實現「自然人」（Naturmensch），呼應盧梭「回到自然」的宣言。富含美學意義的「自然」以超善惡的非道德主義，要解放基督教式的禁欲身體。尼采頌揚文藝復興式的教養（virtù），並以歌德的「高尚教養」與「體態靈巧」為例，將「善惡對立的道德」從美學的角度轉化為超善惡的「好壞」。高貴的人就像藝術天才一樣，善於調動身體的多元力量，不把壞的排除，而是肯定命運中的偶然性，在趨於毀滅的現代性生活中，開發矛盾力量的動能，讓足以裂解生命的衝突性力量成為創新生活風格的泉源。自由遊戲的力量是藝術活動的主要形式，也是生命活力的表徵。本文將從力量、自然與自由之間的關係作為討論線索探究以下課題：藝術的解放力量是主體權能的展現還是去主體化的過程？若藝術活動涉及個體解放的自由，是否也有政治自由的向度？尼采美學思想與啟蒙批判的關係為何？
Nietzsche ascribes to Herder's views on aesthetics and further develops the connection between aesthetics and freedom. He advocates an aesthetic realization of a ＂human of nature＂ (Naturmensch) echoing Rousseau's call for getting ＂back to nature.＂ The concept of nature in Nietzsche's aesthetics leads us towards a non-moralism beyond good and evil, its purpose being to liberate the body from Christian asceticism. Nietzsche celebrates the virtuosity of the Renaissance and takes Goethe's combination of ＂noble upbringing＂ and ＂bodily dexterity＂ as an example of aesthetically transforming the ＂binary opposition of good and evil＂ into the ＂non-moralism of good and bad.＂ Cultivated individuals, like artistic geniuses, are good at mobilizing the multiple forces intrinsic and extrinsic to the body, without excluding the bad; yet, they still recognize the contingency in their destinies. In modernity, which is essentially self-destructive, conflicting forces, capable of destroying life, in effect become the source of innovative lifestyles. Free play is the main form of artistic activity and a sign of life's vitality. This paper takes the relationship between power, nature and freedom as a lens through which to explore the following questions: Does the power of artistic liberation manifest and reinforce subjectivity or is it actually a process of desubjectification? If artistic activities involve individual liberation, is there any dimension of political freedom involved therein as well? What is the relationship between Nietzsche's aesthetic ideas and critiques of the Enlightenment? |
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