| 摘要: | 境域之構成首先在於範域的捕捉，而要構成「自由」的境域則先於捕捉何以提供境域構成的自由。故其可介入之範域便是本文所研究的聚焦範圍，即文本取向的研究疆界。於是當涉入老子與尼采的文本時，其文本內容範域的詮釋活動便足以延展其語境與意境所表現的綜合活動，進而出現可延展之境域型態，且由此延展的可活動之空間，也即是藝術的連貫性與哲學的連貫性所形成的交互結構作用。以此，構成兩者文本中特殊的「自由」。 本文以《老子》與《善惡的彼岸》、《論道德系譜學》與《查拉圖斯特拉如是說》為對舉，其中《善惡》與《論道德》乃鋪陳於《查》，故是以《老子》與《查拉圖斯特拉如是說》為主要對話進行開展。而兩者的「自由」境域之構成乃透過未著意於「自由」而隱現，此未著意則由兩種層次傳達；其一乃以透過「邀請－歸還」的情境性結構所傳達；其二為兩者的否定敘述之語言形式，即一方面對已知的進行顛倒，一方面傳達未知的可經驗性，並進一步因其反向之對象性而出現自我反向的矛盾活動。鑒此，此兩種層次不僅使文本內部存有自我對話的表現形式，亦使此文本內容推置於外部的參與結構，由此構成動態的思維型態與其價值設定。是以，《老子》與《查拉圖斯特拉如是說》的形象敘述也透過此動態結構的發展而始有超越性，即帶有超越反向的肯定性活動，由此也表現出其形象的特殊意境之內容，以致「自由」境域的出現。
The composition of the realm first lies in the capture of the realm, and the realm that constitutes “freedom” must precede the capture of how to provide the freedom of the composition of the realm. Therefore, the scope of its intervention is the focus of this article, that is the research boundary of text orientation. When involved in the texts of Laozi and Nietzsche, the interpretation activities of their text content scope are sufficient to extend the comprehensive activities represented by their context and artistic conception, and then there will be an expandable state type, and thus an expandable space for activities. That is the interaction structure formed by the continuity of art and the continuity of philosophy. In this way, the special “freedom” in the two texts is formed. This article takes “Laozi” and “Jenseits von Gut und Böse”, “Zur Genealogie der Moral” and “Also Sprach Zarathustra” as examples. Among them, “Jenseits von Gut und Böse” and “Zur Genealogie der Moral” are published in “Also Sprach Zarathustra”. Therefore, the main dialogue between “Laozi” and “Also Sprach Zarathustra” is the main dialogue. The composition of the “freedom” realm of the two is concealed through the unconsciousness of “freedom”, and this unconsciousness is conveyed by two levels; one is conveyed through the contextual structure of “invite-return”; the second is The linguistic form of the negative narrative of the two is that on the one hand, it reverses the known, on the other hand, it conveys the unknown experience, and furthermore, the contradictory activities of self-reverse appear due to its reverse objectivity. In view of this, these two levels not only enable self-dialogue expressions within the text, but also push the content of the text into an external participation structure, thereby forming a dynamic thinking style and value setting. Therefore, the image narratives of “Laozi” and “Also Sprach Zarathustra” have transcendence through the development of this dynamic structure, that is, a positive activity that transcends the reverse, which also shows its The content of the image's special artistic conception, resulting in the emergence of the “freedom” realm. |
