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阿多诺认为,在资本主义杌械复制技术支持下汹涌而来的文化工业使文化的生产和消费呈现出伪个体化和非个性化倾向,导致了个人自主性的丧失和个性的泯灭。因此,他立足于奥斯雏辛这一人类深重灾难之后的社会历史条件、立足于启蒙辩证法所倡导的同一性及总体性价值体系的缺陷、立足于个人精神贵族的骄傲,对大众文化的审美价值展开了尖锐而猛烈的批判,并企盼通过建立审美乌托邦实现他对处于被文化工业意识形态奴役之下的人们的人性“救赎”。然而,受其所处时代、理论体系及个性特征的拘囿,阿多诺对文化工业审美价值的批判不可避免地带有明显的局限。
Adorno argues that the surging culture industry under the support of the capitalist replication technology has led to the pseudo-individualization and non-personalization of cultural production and consumption, resulting in the loss of individual autonomy and the loss of individuality. Therefore, based on the social and historical conditions after Oscar Young Xin, a mankind’s profound disaster, he bases himself on the identity and overall value system advocated by Enlightenment Dialectics. He bases himself on the pride of individual spirit aristocrats, The value has been sharply and violently criticized and it is hoped that through the establishment of an aesthetic utopia he will realize his salvation to the humanity of people under the slavery of the cultural and industrial ideology. However, influenced by its time, theoretical system and personality characteristics, Adorno’s criticism of the aesthetic value of cultural industry inevitably has obvious limitations.