阿多诺意识形态批判语境下的现代主义文论观

发布时间：2019-03-27 09:52

【摘要】：特奥尔多·维森格伦德·阿多诺是第一代法兰克福学派中最负盛名的人物,他是一位充满了艺术禀赋的哲学家、音乐社会学家、文化批评家。他非常关注晚期资本主义社会的异化现象,在垄断资本主义社会资产阶级通过意识形态这种非暴力工具对生活在其中的人进行了全面的异化。资产阶级实施意识形态控制的工具主要是大众文化,文化工业利用同一性思维阻碍了个体思考与想象的能力。为此,现代无产阶级革命的首要任务就是竭力摆脱文化工业的意识形态控制,恢复大众自主思考的能力,只有这样我们才能看到解放的希望。现代主义艺术的自律性和它对非同一性的提倡可以拒绝资产阶级意识形态的侵蚀,进而恢复无产阶级的感性意识,给人类带来解放的希望。本文的主要任务就是从意识形态批判与现代主义艺术和文化工业产品的关系入手研究阿多诺的艺术理论。本文主要可以分为以下几个部分：导言介绍了阿多诺的生平经历、思想发展过程、国内对其艺术理论的研究现状、本文的任务,希望通过引言让读者对本文的内容有一个简单的了解。第一章主要介绍了阿多诺意识形态理论的内涵和其形成的哲学基础。首先简单概述了意识形态理论的发展历程,马克思是实现真正的意识形态批判的第一人,法兰克福学派结合其生活的社会现实,对意识形态做了不同于传统的新的解释。其中阿多诺的意识形态批判理论是最具特色的。阿多诺对意识形态是持完全否定的态度的,因为在他看来晚期资本主义社会的意识形态不再是精神的上层建筑而是摇身变成了客观的物质存在。阿多诺意识形态的最具特色之处是他把同一性思维看成是资本主义意识形态的本质。第二章是对文化工业的论述,因为在阿多诺看来资本主义社会文化工业扮演的正是意识形态的角色。文化工业的产品为了更大限度的占据市场,竭力追求新奇的个性外表,但是这种伪个性下掩藏的却是千篇一律、空洞乏味的同一性的本质。他通过虚假的满足阻碍了大众对显示的思考,麻痹了大众的心理,这样大众的否定能力和批判能力便慢慢消失殆尽。大众文化就失去了艺术原本的自律性和否定性,与资产阶级勾结在一起。为了更加全面的展示其理论,本章还澄清了阿多诺对理性并不是一味的否定,他认为对理性的救赎是可能的。第三章说明现代主义艺术与抵制意识形态控制所需的非同一性有高度的契合性。现代主义艺术通过其自律性拒绝社会的同化,表现被文化工业产品隐藏了的社会苦难,发挥了艺术的否定和批判功能,以此唤醒沉睡的人们,让他们恢复被文化工业吞噬的思考能力,时刻对资产阶级的愚弄保持警惕。因此我们要抵制意识形态对人的控制,实现人类的解放,就必须寄希望于现代主义艺术。阿多诺的艺术理论具有鲜明的特色,他不仅具有强烈的现代性还带有抹不掉的传统色彩。正因为阿多诺思想的深刻性和丰富性使他在西方美学史上占据了重要的地位。第四章把阿多诺的美学理论和本雅明、哈贝马斯以及姚斯三人的理论进行对比,这样可以让我们在一个互文的环境中更加全面的理解阿多诺的艺术理论。本雅明和阿多诺在对待文化工业的态度上发生了激烈争论,本雅明认为文化工业促使艺术从精英化转向大众化,推动了艺术相中下层的普及；阿多诺却认为,复制技术使艺术丧失了真正的本质,从而没有了否定性。哈贝马斯对阿多诺否定工具合理性的态度进行了批评,他认为没有必要对理性进行救赎,理性完全可以自我救赎。姚斯反对阿多诺把艺术分为肯定性艺术和否定性艺术的做法,在他看来阿多诺完全忽视了接受者对文本的阐释作用。余论是对文章的一个简单总结,并针对一些反对的声音,阐明了阿多诺推崇现代主义艺术的原因。
[Abstract]:The most famous of the first-generation Frankfurt school, Theordo Wiesen-Adorno, is a philosopher, a musical sociologist and a cultural critic who are full of art endowment. He is very concerned about the alienation of the late capitalist society, and in the monopoly of the capitalist society, the capitalist society, through the non-violent tool of ideology, has made a comprehensive dissimilation on the people living in the capitalist society. The tool of the bourgeois implementation of the ideology control is mainly the mass culture, and the cultural industry uses the identity thinking to hinder the individual's ability to think and imagination. Therefore, the primary task of the modern proletarian revolution is to try to get rid of the ideological control of the cultural industry and to restore the ability of the public to think independently, so that we can see the hope of liberation. The self-discipline of the modernism art and its promotion of non-identity can reject the erosion of the bourgeois ideology, and then restore the perceptual consciousness of the proletariat and bring the hope of liberation for mankind. The main task of this paper is to study Adorno's art theory from the relationship between the ideological criticism and the modernism art and the cultural industrial products. The article can be divided into the following parts: The introduction of Adorno's life experience, the process of thought development, and the current status of the study of the art theory in China, the task of this paper is to give the reader a brief introduction to the contents of this paper. The first chapter mainly introduces the connotation of Adorno's ideology and its formation. On the basis of the philosophy of ideology, first of all, the development course of the ideology theory is simply summarized, and Marx is the first person to realize the real ideology criticism. The Frankfurt school combined with the social reality of the life, and made the ideology different from the tradition. The new interpretation of Adorno's ideological criticism. The most distinctive. Adorno's attitude to the ideology is completely negative, because in his view the ideology of the late capitalist society is no longer the spirit of the superstructure, but it becomes objective The most characteristic of Adorno's ideology is that he regards the identity of thought as the consciousness of capitalism The second chapter is the discussion of the culture industry, because in Adorno's view the capitalist social and cultural industry plays a positive role It is the role of the ideology. In order to occupy the market more, the product of the cultural industry is trying to pursue the novelty of the personality, but this kind of pseudo-personality is hidden under the pseudo-personality. The nature of the identity of the taste. Through the false meeting, he has hindered the public's consideration of the display, and paralysed the psychology of the public, so that the negative ability and the critical energy of the public The force slowly disappeared. The mass culture lost its original self-discipline and negative, and the capital. In order to show its theory more fully, this chapter also clarifies that Adorno's response to reason is not a negative one. Redemption of sex is possible. Chapter 3 illustrates the need for modernism art and resistance to ideological control. The non-identity has a high degree of fit. The modernism art, through its self-discipline, refuses the assimilation of the society, shows the social suffering hidden by the cultural industrial products, plays the negative and critical function of the art, The thinking ability of the cultural industry to engulf. Therefore, we should resist the control of the ideology to the human, and realize the liberation of the human Adorno's art theory has a distinct characteristic, and he not only has a strong modernity A traditional color that can't be removed. It is because of the profundity and richness of Adorno's thought, he is in the Western beauty. The fourth chapter compares the theory of Adorno's aesthetic theory with the theory of Benjamin, Habermas and Yao, so that we can make us more in a cross-text environment. With a comprehensive understanding of the art theory of Adorno, Benyamin and Adorno, in the attitude of treatment of the cultural industry, have had a bitter argument, and Benjamin believes that the culture industry has led to the popularization of the art from the elite to the popularization, and promoted the popularization of the lower and lower layers in the art. The technology has lost the art. The real essence, therefore, has not been negative. Habermas has criticized the attitude of Adorno's negative tool, and he does not think it is necessary to enter into a rational way Redeemer and reason can be fully self-heeded. Mr. Yao's opposition to Adorno's art of art is divided into affirmative art and negative art, and in his view, Adorno is complete. The residual theory is a simple summary of the article, and in the light of some opposition voices,
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I109

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