艺术的自律与比格尔的批判性反思  

The Autonomy of Art and Buerger's Critical Introspection

作　　者：曾莹[1] 杨向荣[1] 

机构地区：[1]浙江传媒学院文学院,浙江杭州314500

出　　处：《艺术百家》2016年第3期157-161,共5页Hundred Schools In Arts

基　　金：2010年度国家社会科学基金"齐美尔与法兰克福学派文艺理论的关联研究"(项目编号:10CZW007)阶段性成果;2015年度浙江传媒学院科研项目"读图时代的媒介图文表征及视觉建构表征"(项目编号:ZCXC15YB02)阶段性成果之一

摘　　要：从艺术社会学的角度来说,艺术自律力图摆脱资产阶级对艺术的操纵与控制,摆脱艺术商品化和市场化的趋势,使现代艺术成为"反艺术",进而实现对资产阶级物化现实和中产阶级平庸趣味的审美救赎。现代艺术之所以能获得自律,首先在于艺术家摆脱了他者的束缚,成为现代社会中具有自主性的自由者。比格尔认为,艺术自律是一个悖论性存在:它一方面是艺术对资产阶级的批判,另一方面却是艺术日益变得体制化而丧失批判锋芒。他还认为艺术的自主化并不是一个线性的解放过程,而是一个矛盾的发展过程。可以说,从康德的审美的自律性,经由法兰克福学派对艺术自律的强调,再到比格尔对艺术自律的批判性反思,现代性的审美之维建构了一个反思与批判启蒙现代性的思想谱系。From the perspective of social sociology, art autonomy tries to get rid of the manipulation and control of cap- italist class, and tries to get rid of the trend of commercialization, and makes modern art to be an anti - art, and further actualize its aesthetic salvation of capitalist materialization reality and middle - class mediocre taste. The reason why modern art could achieve its autonomy is that firstly artists are free from others＇confinement, and become an inde- pendent liberty in modem society. Biggel believes that art autonomy is a paradoxical exist： it critics capital class on one hand, and it becomes systematic day by day and then it gradually loses its own ability of criticism. We can say that, from Kant＇s aesthetic autonomy to Frankfurt school＇s stress on art autonomy, and to Biggel＇s retrospection, modem aesthetics has constructed a thinking genealogy of retrospection and criticism.

关 键 词：艺术史 艺术自律 现代艺术 艺术社会学 比格尔 先锋派艺术 

分 类 号：J0[艺术—艺术理论]