从“主观美学”到“辩证美学”:阿多诺对康德美学的超越及其启示  

From“Subjective Aesthetics”to“Dialectic Aesthetics”:Adorno's Transcendence of Kant's Aesthetics and its Implications

作　　者：范永康[1] 袁冰清 Yongkang FAN;Bingqing YUAN(Shaoxing University)

机构地区：[1]绍兴文理学院人文学院

出　　处：《马克思主义美学研究》2024年第1期15-27,471,共14页Research on Marxist Aesthetics

基　　金：教育部哲学社会科学重大攻关项目“马克思主义美学话语体系的历史演变和范式转换研究”(22JZD005)阶段性成果

摘　　要：阿多诺对康德美学的主体性立场、审美自律论、美丑关系论以及感性直观论进行了批判性的超越,他并没有片面地否定康德美学,而是加以辩证地扬弃和综合。与康德的主观美学相比,阿多诺的美学理论具有鲜明的辩证色彩,他深刻地揭示出主体与客体、自律与介入、审美与审丑、直观与概念、形式与内容、共相与殊相之间相互对立、相互依存的关系。阿多诺的辩证美学并非严谨的理论体系,但仍然具有重要的启示意义:一是传统的哲学美学需要契合现代艺术实践,进行现代转换;二是可以运用“中介”思维改进马克思主义美学的辩证法。Adorno critically transcended Kant's aesthetic subjectivity,aesthetic self-discipline,the relationship between beauty and ugliness,and perceptual intuition.He did not unilaterally deny Kant's aesthetics,but dialectically sublated and synthesized it.Compared with Kant's subjective aesthetics,Adorno's aesthetic theory has a distinctive dialectical color.He has profoundly revealed the relationship between subject and object,self-discipline and intervention,aesthetics and ugliness,intuition and concept,form and content,common and different.Adorno's dialectic aesthetics is not a rigorous theoretical system,but it has important implications.First,traditional philosophy and aesthetics need to fit in with modern art practice,and need to carry out creative development;Second,we can use“intermediary”thinking to improve the dialectics of Marxist aesthetics.

关 键 词：阿多诺 康德 主观美学 辩证美学 

分 类 号：B83-0[哲学宗教—美学]