“祛魅”与“复魅”：阿多诺艺术形式问题探究

发布时间：2018-01-02 03:37

本文关键词：“祛魅”与“复魅”：阿多诺艺术形式问题探究　出处：《天津师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：在现代世界的总体性“祛魅”的背景下,“祛魅”之现象已普遍播散于西方现代文明的方方面面,即在艺术创造及欣赏的领域,特别在艺术形式上,竟也未能免俗。而西马的代表性人物阿多诺即敏锐地意识到这一点。并且,他对艺术形式的考察,并非着眼于艺术形式之美学特性,而是其在“文化工业”的背景下作为“艺术生产”的社会学特性。因此他对艺术形式的探索具有深切的现实感和广阔的历史视界。而艺术形式的“祛魅”则是指艺术形式浸润了浓厚的商业性,包括诸种文艺要素：艺术世界、作品、艺术家、欣赏者等,都在艺术商品化的过程中失去了一些非常基本的特色,从而造成了艺术的全部“祛魅”。阿多诺认识到现代艺术面临的极大问题,一方面他认为这是社会意识滞后于现代艺术的发展的结果,因此现代美学的发展迫在眉睫；一方面他渴望从艺术内部的诸多契机中寻找自由的能量来对抗这异化的世界。正如他的哲学思想的具有反体系性、碎片化的特点,他的艺术“复魅”之路也没有一个统一的总体性的方法论。他不是以整体来拯救艺术,而是用多样性的、破碎性的部分来以“多”救“一”。这些丰富的“多”集合在一起其实才是真实的“总体”,它们看似一粒粒散沙,凝聚在一起却是以艺术品的社会效益统领其商品效益的实际力量。
[Abstract]:Under the background of "disenchantment" in the modern world, the phenomenon of "disenchantment" has been widely spread in all aspects of western modern civilization, that is, in the field of artistic creation and appreciation, especially in the form of art. Adorno, the representative figure of Sima, is acutely aware of this. Moreover, his investigation of art forms does not focus on the aesthetic characteristics of art forms. It is his sociological characteristic of "art production" under the background of "cultural industry". Therefore, his exploration of art forms has a deep sense of reality and a broad historical horizon, while the "disenchantment" of art forms is "disenchantment". It refers to the strong commercial form of art. Including various elements of literature and art: the art world, works, artists, appreciators, and so on, in the process of art commercialization lost some very basic characteristics. As a result, Adorno realized the great problems faced by modern art. On the one hand, he thought it was the result of social consciousness lagging behind the development of modern art. Therefore, the development of modern aesthetics is urgent; On the one hand, he longs to seek the free energy from the opportunity of art to fight against this alienated world, just as his philosophical thought has the characteristics of anti-system and fragmentation. His "reenchantment" road also does not have a unified overall methodology. He does not save art by the whole, but with diversity. The broken parts are "saved" by "more". These rich "many" are in fact the real "whole", they appear to be a grain of loose sand. Condensed together, however, with the social benefits of art to dominate the actual strength of its commodity benefits.
【学位授予单位】：天津师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J0

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