阿多诺的审美真理理论及其后现代意义

• 作 者: 李建盛
• 机 构: 北京社会科学院文学所,
• 出 处: 马克思主义美学研究
• 发表日期: 2003年00期
• 关键词: 阿多诺 审美自律性 后现代美学 艺术哲学 形式主义 真理理论 法兰克福学派 现代主义 审美理论 话语资源 美学家 合法性 专利 中介 语境 特征 思想 风格

可以说,坚持艺术和审美的自律性是现代以来的形式主义美学的一大重要特征,但艺术和审美自律性问题并不是形式主义美学的专利。在20世纪的美学和艺术哲学中,坚持艺术和审美自律性的理论至少也体现在法兰克福学派的一些美学家的思想中。但与单纯的形式主义美学和艺术哲学不同,这些审美理论并不把形式的自律性作为惟一的合法性的东西,而是把艺术和审美自律性作为一种通向真理的中介。尤其是阿多诺的审美真理理论不仅在现代主义美学中有着独具一格的风格,而且也成为了后现代美学语境中不可忽视的重要话语资源。

It can be said that upholding the self-discipline of art and aesthetics is an important feature of formalist aesthetics since the modern era. However, the issue of art and aesthetic self-discipline is not the patent of formalist aesthetics. In the aesthetics and art philosophy of the 20th century, the theory of adhering to the art and aesthetic self-discipline is also embodied in the ideas of some estheticians of the Frankfurt school. But unlike purely formalist aesthetics and artistic philosophy, these aesthetic theories do not regard formal self-discipline as the only legitimacy, but rather treat art and aesthetic self-discipline as an intermediary to the truth. Especially Adorno’s theory of aesthetic truth not only has a unique style in modernist aesthetics, but also becomes an important discourse resource that can not be ignored in the context of post-modern aesthetics.