ABSTRACT Recent publications on Alfred Schutz suggest the importance of his musical thought for understanding his general viewpoint on intersubjectivity. Developing this proposition further, my article focuses on one aspect of Schutz’s writings on music: his attempts to amalgamate the aesthetic oppositions of the Dionysian/Apollonian by Friedrich Nietzsche and inner duration/spatialized time by Henri Bergson. Despite the seeming distortion of the initial meaning of the Dionysian impulse, I suggest that Schutz’s employment remains faithful to the aesthetic and cognitive theory of early Nietzsche. To substantiate this, I draw a link between Nietzsche’s early theory of aesthetic cognition and the neurophysiology of the mid-nineteenth century. Furthermore, the way Schutz applied the Dionysian/Apollonian opposition to the problem of musical communication made his musical thought prefigure some neuro-scientifically inspired discussions of the present-day, like the one on joint attention. Schutz tackled the key paradox: why the experience of music can be shared but not directly communicated.

中文翻译：

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酒神精神为“社会自我”：阿尔弗雷德·舒茨对尼采的深刻理解（误用）

摘要最近有关阿尔弗雷德·舒茨（Alfred Schutz）的出版物表明他的音乐思想对于理解他关于主体间性的一般观点的重要性。进一步发展这一主张，我的文章集中在舒茨关于音乐的著作的一个方面：他试图融合弗里德里希·尼采（Friedrich Nietzsche）对酒神/阿波罗尼亚人的美学反对，以及亨利·柏格森（Henri Bergson）的内在时间/空间化时间。尽管狄奥尼主义冲动的最初含义似乎有所歪曲，但我建议舒茨的工作仍然忠于尼采早期的美学和认知理论。为了证实这一点，我在尼采的早期审美认知理论与19世纪中叶的神经生理学之间建立了联系。此外，舒茨将狄奥尼索斯/阿波罗尼亚主义应用于音乐传播问题的方式，使他的音乐思想成为当今神经科学启发下的讨论的预兆，例如共同关注的讨论。舒茨解决了一个关键的悖论：为什么音乐经验可以共享但不能直接传播。