审美现代性与文化现代性:阿多诺思想的二重奏  

Aesthetic Modernity and Cultural Modernity:Adorno's "Duet of Thought"

作　　者：李进书[1] 顾虹[2] 

机构地区：[1]河北大学文学院 [2]河北大学教务处

出　　处：《理论与现代化》2012年第3期92-97,共6页Theory and Modernization

基　　金：教育部社科项目"审美现代性与文化现代性:法兰克福学派思想的二重奏"的阶段成果;项目编号:10YJC751044

摘　　要：阿多诺认为审美现代性与文化现代性是一对非此即彼的对手,因为艺术是社会反题,而大众文化是社会水泥,即前者反抗着社会,后者维护着社会。艺术之所以痛斥大众文化,不在于后者威胁着艺术既有的神圣地位,而在于大众文化加剧了人的异化,阻碍着现代性的进步。阿多诺这种思想的二重奏是"无调的",即审美现代性与文化现代性始终是不和谐的,因为阿多诺强调艺术的自治而悲壮的"晚期风格",其实这种"无调"中贯穿着一个宗旨:对人的深切关怀,即这是一个有调的无调式二重奏。Adorno insists that aesthetic modernity and cultural modernity are enemy because art which struggles with society is antithesis of society, mass culture that maintains society is ＂cement of social＂. The reason that art denounces mass culture is that it has aggravated the alienation of the human beings, and hindered the modernity from improving. Adorno＇s ＂duet of thought＂ is atonal： aesthetic modernity and cultural modernity are always disharmonious because he emphasizes art is late style which is autonomous and tragic. In fact, there is a tenet： concerning about human beings in this atonality, in a word, the atonal music is also tonal.

关 键 词：审美现代性 文化现代性 社会反题 社会水泥 无调性 

分 类 号：B83-0[哲学宗教—美学]