ニーチェにおける芸術の「形而上学」と「生理学」 : 「ディオニュソス的」なるものをめぐって

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書誌事項

タイトル別名
  • "Metaphysik der Kunst" and "Physiologie der Kunst" in Nietzsche : around "das Dionysische"
  • ニーチェ ニ オケル ゲイジュツ ノ ケイジジョウガク ト セイリガク ディオ

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説明

Nietzsche's aesthetic theory is divided into two phases by his own naming : the one is "Metaphysik der Kunst" in "Geburt der Tragodie", and the other is "Physiologie der Kunst" in his left fragments of later 80's. But these two phases are equally concerning "das Dionysische" and "creation of art". Therefore we can regard his aesthetic theory as "aesthetics of creation". Nietzsche, in his early time, insists that a dionysiac artist creates his work after the world's creation. According to his theory, "das Dionysische" as "das Ur-Eine" plays at creation (construction) and destruction of various worlds as phenomena of itself, and a creative artist (a genius) participates in the world's creation (a play of Dionysus with itself) in dionysiac "Rausch (intoxication)". Therefore his "Metaphysik der Kunst" is not only aesthetics, but also a theory of the world as "becoming." Nietzsche, in his later time, affirms that both artistic creation and appreciation are based on "Rausch" as a physiological condition, because this "Rausch" makes artistic creation and communication possible. He tries to explain the process of artistic experience as a physiological phenomenon of man's body in his "Physiologie der Kunst". His "Metaphysik der Kunst" and "Physiologie der Kunst" supplement each other about "das Dionysische" as a common basis of the world and a man, so his "aesthetics of creation" is a theory of both the world and the man's body that are creative.

収録刊行物

  • 美学

    美学 38 (2), 13-23, 1987

    美学会

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