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哈贝马斯对阿多诺的批判有着相当深远的影响。然而本文认为,阿多诺并不像哈贝马斯所认为的那样彻底否定理性。恰恰相反,阿多诺试图以美学来拯救被工具合理性所取代了的理性。因此,阿多诺的美学强调的是工具合理性与审美合理性的辩证关系。这就赋予艺术以认知的功能。在阿多诺那里,艺术的认知特性体现在艺术作品的真理内容上。不过,这种真理内容并非纯粹客观的知识,而是指艺术作品对社会现实本质的认识,它体现在艺术作品的形式上。当然,阿多诺心目中的艺术作品,主要指的是现代主义的自律性作品,在其中,摹仿行为体现了主体—客体问的自由交往。因此,阿多诺认为,现代自律艺术乃是人类解放实践的典范。
Habermas’s critique of Adorno has had far-reaching implications. However, this article argues that Adorno does not completely negate rationality as Habermas believes. On the contrary, Adorno tries to aesthetics to save the rationality that has been replaced by the rationality of tools. Therefore, Adorno’s aesthetics emphasizes the dialectical relationship between the rationality of tools and aesthetic rationality. This gives art a cognitive function. In Adorno, the cognitive character of art is reflected in the truth of the artwork. However, the content of this truth is not purely objective knowledge, but refers to the understanding of the essence of the social reality of the artwork, which is embodied in the form of the artwork. Of course, Adorno’s artistic works mainly refer to the self-discipline works of modernism, in which the imitation shows the freedom of subject-object exchange. Therefore, Adorno believes that modern self-discipline art is a model of human liberation practice.