【作者】 谢昌飞；

【导师】 韩秋红；

【作者基本信息】 东北师范大学 ， 国外马克思主义研究， 2013， 博士

【摘要】 阿多诺是一位对现代性批判具有独特见解的学者，同时也是一位饱受争议的理论家。正因为如此，对阿多诺现代性理论研究的成果络绎不绝。阿多诺从来都不是以宏大叙事的方式表达其对现代社会问题的理解，而是始终基于某一问题域展开有针对性研究。故想要离析阿多诺现代性批判思想必须将其放在某一领域当中审视，而《美学理论》中的审美领域的现代性批判恰恰是其中较为明晰的场域。因此本文以阿多诺《启蒙辩证法》、《否定辩证法》和《美学理论》所展开的现代性批判理论为研究视阈，以阿多诺的思想方法为方法论原则，以《美学理论》的审美现代性批判为思想资源，以阿多诺对传统美学的批判与现代美学的建构为逻辑理路，以阿多诺《美学理论》现代性批判所呈现的思想特征为重要内容，在以阿多诺为代表的西方马克思主义与马克思审美现代性比较的意义上审视阿多诺的思想与马克思的联系与差异，通过对比进而深化对阿多诺和马克思思想的理解和把握。对《美学理论》进行文本研究所要完成的第一个任务就是确立方法论原则。方法论原则不是凭空而来的，而是阿多诺思想本身所确立的，据此可以对这一文本的理论旨趣做出更好的揭示。我们将这一方法论原则概括为以下几个方面：其一体现为文化批判主义所呈现出来的批判精神。其二体现为具有一定程度后现代色彩的无规则和非层递性的叙事风格。其三是扬弃、移植和变通。这三重维度昭示了阿多诺《美学理论》解读的方法论原则。在方法论原则确立的基础上，笔者对阿多诺审美领域的现代性从“破”到“立”的双重维度加以诠释。破的过程就是阿多诺对艺术和美的集中体现——现代文化产业流弊的揭示。文化产业最为根本的流弊就是文化的大众化，在文化大众化的基础上文化丧失其自身应具有对人类生活的一切价值和意义。为了追求感观刺激，层出不穷的技术手段和简单的形式相结合，使个体的鉴赏力和价值需求变得越来越统一，在日常生活中的存在方式日益趋向“服从”。于是原本属于个体的艺术欣赏和享受，变成了艺术消费的标准化。而且这种标准化的艺术消费原则成为一种绝对，审美活动变得没有活力和庸俗，主体的自我反思意识变得缺乏。在这种缺少自我反思和批判意识的“波普文化”主导下，人的情感失去了归属，个性受到了多重的压抑，精神与灵魂失去了升华的可能。这种文化的幻想表达的是一种审美的无矛盾和齐一化倾向。阿多诺认为这种文化产业造成了以下三个方面的危害：其一是文化产业的总体化倾向有效地助长了一种精于包装的意识形态，使人们更加适应于习惯性的统治，最终把个性无条件地沉淀在共性之中，从而导致了生活方式的平面化、消费行为的时尚化和审美趣味的肤浅化。其二是以文化的同一性方式极力掩盖处于严重物化和异化杜会中的主体——客体关系之间与特殊——一般关系之间的矛盾性质，使主客体之间的矛盾和异化被遮蔽，而无法被人们更为清醒的预见。其三文化产业化的结果导致了大众鉴赏力的退化、审美活动的庸俗化、主体反思与批判意识的贫乏以及享乐主义的盛行等等负面效应。相应地，情感非但没有得到宣泄，精神非但没有得到升华，反而受到双重的压抑。文化的危机就是人自身的危机，人想要摆脱这样的困境和走向自我救赎的道路，就需要从文化的幻象开始实现一种解蔽和颠覆。只有在真正的文化意义上，使真善美能够从虚伪的意识形态中显现出来，才能有望于实现人的自我解放和发展，才能在属人的世界中孕育和发展出人性的意志因素。阿多诺在对文化产业深表忧虑和敌视的同时，也承认文化产业主流中所内含的批判潜力。可见无论是从负面还是正面揭示文化产业实质的过程中，他始终怀抱着探寻“文化赎救”之可能性的使命感或终极目的。因此阿多诺认为拯救危机的途径在于实现美学的现代转向。人类要想赎救自己，或者说人类要想摆脱这场危机，除了别的途径之外还得从文化入手——重建审美意识——即精神性和自律性的艺术。他力图通过“精神化”使艺术抛开外在的制约因素，以便少受异化的影响，从而尽量保持本身的社会性批判维度——即通过表现媒介和历史所确定的方式，攻击和揭露当今社会状况的种种弊端。现代主义美学的重建关键在于培养真理意志。现代美学面对文化产业化和意识形态化面临着两难处境：如果艺术抛弃自律性，它就会屈从于既定的秩序；但若艺术想要固守在自律性的范围之中，它照样会被同化过去，在其被指定的位置上无所事事、无所作为。在这样的局势下现代美学的重建需要体现一种“反世界”的倾向。它有意地不再“美化”人生与社会，而是直接地呈现人的生存状态和揭露社会的种种弊端。艺术的本质、社会职能及其社会重要性，或许正在于它同这个世界的对立，但却通过把现实“对象化”，也就是通过无情而深刻地揭露与展示，使人重新认清自己，认清世界。现代美学希望以艺术为表达方式，不受干扰，独往独来，抵制总体社会化运动。现代主义美学未来发展的可能性在于培养尚无人知的审美形式。这种审美形式不仅预示着现代艺术的前景，而且预示着美学发展的前景。究其本质，这种“审美形式”是一种理想化的艺术形式，指望通过彻底的表现方式的革命，凭藉深刻的反思意识和批判主义的方法，使艺术尽可能回归其原有的真实面貌阿多诺坚信美学存在的意义和必要性。但这种美学不是落后颓废的传统美学，而是一种摆脱陈旧规范而能“引发反思的美学”，一种必须实施现代化转换的现代美学。在这一现代美学的建构过程中，阿多诺体现出鲜明的立场和态度：非正统西方马克思主义、美学理论的现代主义立场、上流文化的保守主义指向和否定辩证法与怀疑精神。阿多诺的美学在很大程度上并非一个理论的圆圈，而是一种思索的过程。在此过程中，经常闪耀出一束束令人惊叹不已的辉光，流溢出一串串教人耳目一新的箴言，其中许多洞识给人以无穷的回味和深刻的启迪。阿多诺美学理论的现代性批判与马克思的审美现代性批判具有一定程度上的相似性和差异，在与马克思比较的意义上审视其审美理论是我们有效的评价阿多诺审美现代性批判的重要维度。通过两者对美本身的理解、对美的异化状况的拯救以及对审美回归生活世界的揭示等维度，我们可以看到，这两位思想家在以上几方面的思想理论上具有着一致性。但与此同时，马克思在拯救美学的过程当中，强调审美所呈现的实践性、社会性以及对人的自由而全面发展的意义和价值，远大于阿多诺所强调的美的真理性、经验型和个体主义的特征，这是马克思审美现代性批判高于和深刻于阿多诺美学思想的高明之处。更多还原

【Abstract】 Adorno is highly controversial in the field of foreign Marxist thinkers, but also critiqueof modernity has its own unique view of the scholar. Because of this modern theoreticalresearch on Adorno results flock. At the same time, Adorno never grand narrative is a way toexpress their understanding of the problems of modern society, but always based on aparticular problem domain to carry out targeted research. It stems from this, you want toisolate Adorno modern critical thought must be placed in a field which critically examine, and"aesthetic theory" in which the field of aesthetic critique of modernity is precisely one of themore clear field. Therefore, this paper Adorno,"Dialectic of Enlightenment","negativedialectics" and "aesthetic theory" the launching of modern critical theory for the study ofvisual threshold to Adorno’s thinking as methodological principle of "aesthetic theory"aesthetic critique of modernity as the ideological resources to Adorno’s critique of traditionalaesthetics with modern aesthetics constructed as logical thinking to Adorno "aesthetic theory"critique of modernity is characterized by the idea presented important in order to Adorno asthe representative of Western Marxism and Marxist aesthetic sense of modernity compareAdorno’s thinking and examine the links and differences of Marx, in contrast to deepen theunderstanding of Marxist ideology and grasp.Of the " aesthetic theory " Institute for text to complete the first task is to establish themethodological principle, this methodological principle not come out of thin air, but Adornothought itself established, according to its text to this theory can be purport to make betterreveal. We refer to this methodological principle summarized as the following aspects: firstlyreflected cultural criticism the presentation of the critical spirit. Second reflected a degree ofpost-modern color layer without rules and non-delivery of narrative style. The third isabandoned, portable and flexible. This triple dimension to clear Adorno " aesthetic theory "methodological principles of interpretation.In the methodological principles established on the basis of our field Adorno aestheticmodernity from "broken " and " up" dual dimension interpretation of it. The process is brokenAdorno concentrated expression of art and beauty-revealing abuses of modern cultureindustry. Cultural industry is the most fundamental flaws in popular culture, the culture ofpopular culture on the basis of the loss of their own should have a right of all human life valueand meaning, culture loses its connotation of cultural origin caused by industrialization. Inpursuit of sensory stimulation, the endless stream of technical means and the combination ofsimple form, making the individual’s taste and value needs become more unified in their dailyway of life saved as the growing tendency " to obey." So originally belonged to the individual’s art appreciation and enjoyment of art consumption became standardized. And theart of consumption such standardization is an absolute principle, no vitality and aestheticactivity becomes vulgar, body consciousness becomes the lack of self-reflection. In such alack of self-reflection and critical awareness of the " pop culture" under the guidance ofhuman emotion loses ownership, has received multiple repressed personality, spirit and soullost sublimation possible.This culture is an expression of fantasy aesthetic without contradictions and Qi atendency. Adorno that this cultural industry caused harm to the following three aspects: oneis the general tendency of cultural industries to effectively contribute to a skilled packagingideology, make people more adapted to the customary rule, the final the personalityunconditionally among settle in common, resulting in lifestyle flat, consumer behavior andfashion aesthetic tastes superficiality. The second is cultural identity in a serious way tryingto cover objectification and alienation DU will in the main-the relationship between theobject and the special-the contradiction between the general relationship between the natureof the conflict between the main object and alienation be obscured, and can not be moresober people foresee. Its three cultural industries of the results led to the degradation ofpublic taste, aesthetic activities vulgarization, reflection and critical awareness of the bodylack of plaque, as well as the prevalence of hedonism so negative effects. Accordingly, notonly did not get emotional catharsis, not only did not get the spirit of sublimation, but aredoubly repressed. Cultural crisis is a crisis of its own people, who want to get out of thispredicament and the road towards self-redemption, we need to start from a cultural illusionimplement a demasking and subversion. Only in the true sense of the culture, from thesublime to the hypocrisy of social ideology manifested, in order to achieve the expectedhuman self-emancipation and development of human talent in the world belong to nurtureand develop the human will factor.In Adorno’s deep concern for the cultural industries and hostility at the same time, alsoadmitted that the mainstream of cultural industries in the critical potential inherent. Forexample, he noted that the ideology of cultural industry itself in the manipulation of publicattempts, has become with it as you want to control society inherently contain aconfrontational. The ideology of cultural industries contain their own lies antidote." It seemsthat Adorno either from a negative or a positive reveal the substance of the cultural industry inthe process, always embrace explore the" culture ransomed " the possibility of the ultimatepurpose of mission, or so that the rescue crisis Adorno approach is to achieve a modernaesthetic shift. Adorno seems to think that in order to redeem mankind save himself, or thathuman beings in order to get rid of the crisis, in addition to other avenues had to start fromthe culture-rebuilt aesthetic sense-ie spirit and self-discipline of art. Adorno sought throughthe " spirit " of the art of external constraints aside, so less affected by the impact of alienation, so try to keep their social critique dimension-that is, through the performance ofthe media and history in a manner determined to attack and expose the drawbacks of today’ssocial conditions.Modernist aesthetics lies in the reconstruction of cultured truth will. The face of modernaesthetics and ideology of cultural industry is facing a dilemma: If Art abandonself-discipline, it will succumb to the established order; But if you want to stick to the arts inthe range of self-discipline among it still will be assimilated in the past, in which it wasspecified location doing nothing, doing nothing. In such situations need to reflect the modernaesthetic reconstruction of a " counter-world " tendencies. It is intentionally not " glamorous"life and society, but directly render people’s living condition and expose the socialdrawbacks. The nature of art, social functions and social importance, and perhaps is in itsconfrontation with the world, but through the real " object oriented ", that is ruthless anddeeply through disclosure and display, re-recognize their own people, understand the world.I hope the art as a modern aesthetic expression, not overlooked, move about independently,resist the overall social movement. Modernist aesthetics possibility of future development isto cultivate aesthetic form no one knows. This indicates that not only aesthetic form ofmodern art fried King. And heralded aesthetic development prospects. Its essence, this "aesthetic form " is an idealized form of art, expect performance through thorough revolutionin the way, with a deep sense of reflection and criticism of the way to make art as much aspossible the true face return to its originalAdorno believes aesthetic significance and necessity exists. But this aesthetic is notbackward disuse traditional aesthetics, but an ability to get rid of the old norms "trigger thatkind of aesthetic reflection," a modern transformation must implement modern aesthetics. Inthis process of constructing modern aesthetics Adorno reflects a distinct position and attitude:unorthodox Marxism, modernist aesthetic theory standpoint, high cultural conservatismpointing and negative dialectics and Skepticism. Adorno’s aesthetics is largely a theoreticalcircle wells non but a thinking process. In this process, often shine out bunches admirablyglow, streams overflow a string of fresh salty words to teach people, many of them reachedthe amazing insight extent, even the logic of their thinking many contradictions and biasesalso gives endless aftertaste and profound inspiration.Adorno’s aesthetic theory and Marxist critique of modernity aesthetic modernity with acertain degree of similarities and differences in comparison with the Marxist sense of theaesthetic theory is that we examine its effective evaluation Adorno important aestheticcritique of modernity dimensions. By understanding both the United States itself, thealienation of the U.S. state of salvation, and the return of the living world of aesthetic revealsother dimensions, we can see that two thinkers in the above ideological and theoreticalaspects consistent with striking sex. At the same time, Marx aesthetics in the process of salvation, emphasizing the aesthetic presented practical, social, and human freedom andcomprehensive development of the meaning and value, much larger than Adorno emphasizesthe beauty of truth, empirical and the characteristics of individualism, which is higher thanthe Marxist critique of aesthetic modernity and profound genius in Adorno aesthetics.更多还原