肯定式超越与否定式批判——尼采、阿多诺艺术救赎观之比较  

Affirmative Transcendence and Negative Criticism:Comparison Between Nietzsche’s and Adorno’s Views on Art Salvation

作　　者：莫小红[1] 雷蕾 MO Xiaohong;LEI Lei(School of Literature and Journalism,Xiangtan University,Xiangtang Hunan 411105,China)

机构地区：[1]湘潭大学文学与新闻学院,湖南湘潭411105

出　　处：《湖南工业大学学报（社会科学版）》2022年第3期122-128,共7页Journal of Hunan University of Technology(Social Science Edition)

基　　金：国家社科基金项目“席勒与法兰克福学派文艺美学思想的关联研究”(19BZW023)。

摘　　要：阿多诺和尼采都将解救当代人类生存困境的使命交给了作为关切苦难的艺术,但两人以“艺术”为中心的介入方式和救赎途径有所区别。尼采认为,艺术以美的外观超越苦难和真理,释放被理性所压抑的个体感性,唤醒生命意志,为世界和人生作出审美辩护,肯定人存在之合理,给予人生存之希望,因此,应以艺术打破枷锁,救赎人性;阿多诺呼唤艺术的“否定性本质”,强调艺术以审美幻象拯救真理性内容,以其谜语般的审美形式疏离社会,因此,应通过反艺术实现对外在异化世界的否定批判,救赎人性。但无论是尼采的肯定式超越抑或是阿多诺的否定式批判,艺术都没有在其中获得除审美幻象以外的任何实质性基础存在,这也就注定了二人救赎之路在面对残酷社会现实时的苍白无力和乌托邦色彩。Both Adorno and Nietzsche handed over the mission of saving the survival plight of contemporary human beings to art,which is concerned with suffering,but their art-centered intervention ways and salvation methods are different.Nietzsche believes that art transcends suffering and truth with the appearance of beauty,releases the individual sensibility suppressed by reason,awakens the will of life,makes an aesthetic defense for the world and life,affirms the reasonableness of human existence,and gives people the hope of survival.Therefore,we should use art to break the shackles and redeem human nature.Adorno calls for the“negation essence”of art,emphasizes that art saves truthful content with aesthetic illusions and alienates society with its riddle-like aesthetic form.Therefore,it is necessary to realizes negative criticism of the externally alienated world through anti-art,thereby redeeming humanity.However,no matter Nietzsche’s affirmative transcendence or Adorno’s negative criticism,art has not obtained any substantial foundation existence except aesthetic illusion,which doomed their salvation road to be pale and utopian in the face of cruel social reality.

关 键 词：尼采 阿多诺 艺术救赎 肯定式超越 否定式批判 

分 类 号：B83-0[哲学宗教—美学]