论阿多诺对审美愉悦感的批判

发布时间：2018-04-27 11:15

本文选题：阿多诺 + 审美愉悦感　；参考：《安徽大学学报(哲学社会科学版)》2010年03期

【摘要】：作为法兰克福学派的主要代表人物之一,阿多诺影响深远。其美学思想中,对审美愉悦感的批判是一个重要的论题。在文化工业与奥斯威辛的现实背景中,阿多诺批判了审美愉悦感的虚假性与不公正性,一方面,在文化工业的现实中审美愉悦感沦为被操纵的虚假快感;另一方面,在奥斯威辛之后,审美愉悦感则带着逃避现实、忘却苦难的不公正性。同时,在其艺术理论中,阿多诺对强调美感的趣味美学进行了严厉批判,他始终强调艺术提供的不是审美愉悦感而是认识。
[Abstract]:As one of the main representatives of the Frankfurt School, Adorno has a profound influence. In his aesthetic thought, the criticism of aesthetic pleasure is an important topic. In the realistic background of cultural industry and Auschwitz, Adorno criticizes the falsehood and unfairness of aesthetic pleasure. On the one hand, aesthetic pleasure is reduced to the false pleasure of manipulation in the reality of cultural industry; on the other hand, After Auschwitz, aesthetic pleasure with escapism, forget the injustice of suffering. At the same time, in his art theory, Adorno severely criticizes the interesting aesthetics which emphasizes aesthetic feeling. He always emphasizes that art provides not aesthetic pleasure but cognition.
【作者单位】：天津师范大学文学院;
【基金】：天津市文化艺术科学研究规划项目(D08053)
【分类号】：B83

【共引文献】