审美现代性的意义:以阿多诺为例——兼谈实践派的美学观点

发布时间：2018-11-14 19:28

【摘要】：阿多诺的审美现代性思想以审美自律性的获得为前提,在与启蒙现代性的对抗中,它以对感性的伸张来拯救异化的人性,以流动变化的瞬间性来打破工具理性的僵滞,以深刻的批判性超越异化现实。与阿多诺的审美现代性思想相比,实践派美学的古典性凸显出来。首先,实践美学建立在主体性哲学基础之上,难以克服主客二分的传统思维模式。虽然新实践美学对实践的内涵进行了重新阐释,但仍然坚持"以物质实践活动为基础",艺术文化活动只能是实践的附属或者是次要方面。正因如此,实践美学不能对现代艺术和后现代艺术作出有效的阐释。其次,实践美学认为,美是人类现实的实践活动的产物,在人与自然的对立中,人类以其对于自然规律的掌握,发挥自己的本质力量和能动性,改造现实,这就产生了美。这是近代启蒙运动的典型观点,而这与现代意义上人与自然的关系显然相左。再次,批判性应该是现代审美的重要之维,而实践美学的肯定性往往导致和主流意识形态的妥协或同谋,使艺术丧失其自律性。当前,美学应该以多样性、丰富性为其目标,要敢于指出现实实践的不足而超越现实。因为现实实践始终是有局限的,美学和艺术要提供不同于现实世界的图景,才能丰富人的体验,使人对现实社会进行思考,进而向着更加美好的未来前行。这或许正是阿多诺给予我们的启示。
[Abstract]:Adorno's thought of aesthetic modernity is based on the acquisition of aesthetic self-discipline. In the confrontation with enlightenment modernity, Adorno saves the alienated human nature with the extension of sensibility and breaks the stagnation of instrumental rationality with the instantaneous nature of flowing changes. Transcend the reality of alienation with profound criticism. Compared with Adorno's thought of aesthetic modernity, the classicality of practical aesthetics is prominent. First of all, practical aesthetics is based on subjective philosophy, and it is difficult to overcome the traditional thinking mode of subject-object dichotomy. Although the new practical aesthetics reinterprets the connotation of practice, it still insists on "taking material practice as the basis", and artistic and cultural activities can only be subsidiary or secondary aspects of practice. Therefore, practical aesthetics can not explain modern art and post-modern art effectively. Secondly, the practical aesthetics holds that beauty is the product of the practical activities of human reality. In the opposition between man and nature, human beings exert their essential strength and initiative to transform reality with their mastery of the laws of nature, which produces beauty. This is a typical view of the modern Enlightenment, which is obviously different from the relationship between man and nature in the modern sense. Thirdly, criticism should be an important dimension of modern aesthetics, and the affirmation of practical aesthetics often leads to compromise or complicity with mainstream ideology, which makes art lose its self-discipline. At present, aesthetics should aim at diversity and richness, and dare to point out the deficiency of practical practice and transcend reality. Because the real practice is always limited, aesthetics and art must provide a different picture from the real world, in order to enrich the human experience, make people think about the real society, and then move forward towards a better future. This may be the inspiration that Adorno has given us.
【作者单位】：四川外语学院国际商学院;
【分类号】：B83-06

【共引文献】