桂老師說尼采
桂思強藝術、悲劇、酒神的自由、超人、精神三變、權力意志 存在是為了什麼？是為了與生俱來的獨一無二。 這是向下沈淪的世界，芸芸眾生中的每個你我，不可避免地進入人間及隨波逐流，世俗道德劃出一道道界限，社會大學會為你裝上輪子，要求你邁開雙腳快步跟上，沒有停下來耍廢擺爛的權利與空間。在大政府之下，它只要群體不要個體，每個人的畫像愈益一致，為經濟成長付出一生。孤獨成了奢侈，更多的是碎片式的割裂，點點滴滴地被時間沖走，不留一點碎片，那個剛出生時就已擁有的獨一無二呢？ 如此，雖然尼采不是正統哲學家，正統哲學家卻把他奉若神明，各流派都能在尼采身上找到養份。也可以說尼采的文字上到學院派，下到普羅大眾，都可以看懂，也太容易被所謂超譯，被斷章取義。 我說尼采，不止是重讀尼采，而是由頭至尾完全梳理，我不敢說看股票打敗市場要讀尼采，升高階主管要讀尼采，競標拿大訂單要讀尼采，至少咀噣尼采後，才懂得心理強大的天花板高度如何高... more
| Publishes | Monthly | Episodes | 8 | Founded | 8 months ago |
|---|---|---|---|---|---|
| Language |  Korean | Number of Listeners | Category | History |
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桂老師說尼采第八講
尼采終其一生除了喜歡音樂外，還有一個終生不變，就是與眾不同地厭惡蘇格拉底，不厭其煩地教誨後人克服蘇格拉底的幽靈。對於這位目前公認西方第一哲人，尼采在第一本書-悲劇的誕生就沒有好話，到了後期的《偶像的黃昏》，又是一頓撻伐，《快樂的科學》第340節說蘇格拉底是世上有過最智慧的牛皮大王，這句話既襃又眨。尼采為什麼要把西方哲學翻過來？因為他認為文明敗壞，高貴不再，流俗不已的過程，源頭都來自蘇格拉底，但除此外之，蘇格拉底一生的故事，對於生命... more
桂老師說尼采第七講
尼采算是業餘作曲家，但他的文字沒有或很少針對接近樂理的部份，論述音樂精神由何而來？《悲劇的誕生》談到的音樂大多是形而上的感覺，叔本華談音樂都比尼采更為深入。在浪漫的時代，藝術的走向就是反傳統，繪畫由寫實到印象，再到後印象，觀者看到的不是鏡子的反射，更多的是扭曲、抽象、比例錯誤的不協調，如梵谷及塞尚，小說出現卡夫卡的《變形記》，原來小說可以魔幻，可以脫離現實，音樂也是，尼采崇拜的華格納，也在音樂中表現浪漫時代該有的反傳統，如尼采最喜... more
桂老師說尼采第六講
尼采為華格納寫下不止萬言的文字，對比才卻寫得很少，因為哲學家就是要戰，就是要對不順眼的沈淪當下口誅筆伐，哪些沈淪呢？尼采眼中的宗教、政治都是，他認為要用音樂淨化世界，現代呢？不可控的經濟怪獸已經綁架全世界，保鮮期愈益短促的先進技術如同毒品，消滅現代人的思考能力，十年前是大數據，現在是AI，為全世界套上重重枷鎖，淨化無用，需要的是想不到的斷裂與崩解，再全部重來。在時代巨輪之下，我們由後視鏡回看又遠又小的尼采，超人的聲音依然響亮。 more
桂老師說尼采第五講
若以現在眼光來看，《酒神的女信徒》文字不美，情節簡單，那是因為我們太複雜了。在2000年前的時代，簡單到只有重要轉折的戲劇，已足夠吸引無甚太多娛樂的希臘人走進劇場。
國王代表世俗權力，面對外來酒神發展教派，在他的國度中，以信仰的力量糾合群眾，古今中外的統治者都不悅如此，所有國王都希望一切按步就班，所有信仰都始於被壓抑，終於打敗現有強權。彭休斯一再向化做人形的酒神要求展現他該有的入教儀式、入教好處、神的原形，卻總是看不見，酒神說... more
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桂老師說尼采 launched 8 months ago and published 8 episodes to date. You can find more information about this podcast including rankings, audience demographics and engagement in our podcast database.
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