文化现代性与审美现代性:一种包容关系的体现  

Cultural Modernity and Aesthetic Modernity:a Relationship of Containment

作　　者：李进书[1,2] 石丽薇 

机构地区：[1]河北大学哲学系 [2]河北大学文学院 [3]河北大学

出　　处：《理论与现代化》2014年第1期100-105,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"阶段性成果;项目编号:10YJC751044

摘　　要：哈贝马斯认为文化现代性是对生活世界的宏大、完整的规划,而审美现代性只分担着此规划的交往任务,即两者是包容关系。包容关系的形成,既在于审美现代性由于自身原因而无法担负重要责任,更在于文化现代性从事着关系现代性声誉的宏大事情,结果前者只能屈身于后者包容之中。在法兰克福学派第一代那里,审美现代性与文化现代性是平等关系,而哈贝马斯依靠"交往"将两者重置为包容关系,并且他以趣味来评定艺术地位,这影响了其第三代,如霍耐特提及文化但忘却了艺术,这是该学派发展的遗憾之一。Habermas believes that cuhural modernity is a grand and integrative project of lifeworld, but aesthetic modernity only undertakes the communicative task of this project, and thus they have a relationship of containment. The cause of this relationship is that aesthetic modernity cannot take important things, but cultural modernity always does grand things about modernity. Habermas resets cultural modernity and aesthetic modernity with communication, and his thought affects the third generation of Frankfurt School, such as Honneth who forgets art. This is a pity for the school＇ s development.

关 键 词：审美现代性 文化现代性 生活世界 包容 交往 

分 类 号：G02[文化科学]