重啟帕西法爾的典禮：巴迪烏的新華格納

Abstract

重啟帕西法爾的典禮： 巴迪屋的新華格納

哲學家巴迪烏於2010年出版的《華格納五講》中，針對華格納陷入黑格爾辯證法的指控，提出「新華格納」的解讀。他認為華格納在每個作品中對不同提問嘗試不同回答，各部歌劇並不構成一個系統性整體。巴迪烏強調在華格納歌劇之中，音樂扮演著「轉化」的關鍵角色，但書中對音樂內容的描述不足，使論者產生了對這個拯救華格納的企圖是否成功的質疑。本論文便由此處切入，聚焦在《華格納五講》末章對《帕西法爾》主題的探討，在回顧有關該劇的當代評論與近代研究的脈絡後，進一步連結巴迪烏的「新華格納」哲學觀點與《帕西法爾》第一幕與第三幕兩場典禮的音樂分析，以論證巴迪烏所提《帕西法爾》作為「一個現代典禮」的意義。

REOPENING THE CEREMONY OF PARSIFAL: ON THE SECOND WAGNER OF BADIOU

In his Five Lessons on Wagner (2010), Alain Badiou advocates a “Second Wagner” to prevent Wagner’s works from the accusation of Hegelian dialectics. Badiou emphasizes that we should find the particular subject in each of Wagner’s operas and not treat his oeuvre as a systematic whole, for Wagner offers a different answer to a different question in each work. Badiou suggests that music plays a transformative role in Wagner’s operas, but there are not enough music examples in the book to persuade the critics of his rescue attempt of Wagner. This thesis takes this problematic as a launching point and focuses on the discussion about the subject of Parsifal in the last chapter of Five Lessons. After reviewing the historical reception and the recent research on Parsifal, Badiou’s philosophy of the “Second Wagner” will be connected with music analysis of the two ceremonies in Act I and Act III of the opera to argue for the significance of Parsifal as “a modern ceremony.”