阿多诺“天才”论美学评骘  

Adorno’s Aesthetics Commentary on Genius

作　　者：刘秀哲 LIU Xiu-zhe

机构地区：[1]黑龙江大学文学院,黑龙江哈尔滨150080

出　　处：《五邑大学学报（社会科学版）》2022年第3期59-63,93,94,共7页Journal of Wuyi University(Social Sciences Edition)

摘　　要：“天才”在西方美学史、文学史上是一个既古老又新颖的概念。无论是柏拉图的神启论“天才”观,还是康德的自然论“天才”观,抑或是浪漫主义的唯我论“天才”观,都对文学艺术的发展起到了推波助澜的作用,但也在一定程度强化了创作主体——作家的能动性,而消解了实存客体——作品的真理性。基于此,阿多诺在《美学理论》中,对传统的“天才”观予以辩证的否定,并从主客体的辩证关系出发,揭示出了“天才”观的真理性内涵、“天才”的救赎路径及其有效性,形成了自己辩证统一的“天才”论体系。“Genius”is both an ancient and novel concept in the history of western aesthetics and literature.Plato’s theological concept of“Genius”,Kant’s naturalistic concept of“Genius”,and the Romantic solipsistic concept of“genius”all played a role in promoting the development of literature and art,but they also strengthened to a certain degree the initiative of the writer,and dispelled the object of creation--the truth of the literary works.Based on this,Adorno made a detailed investigation into the theory of“Genius”in his Aesthetic Theory,dialectically negated the traditional concept of“Genius”,and starting from the dialectical relationship between subject and object,revealed the true connotation of the“Genius”view,the salvation path of“Genius”and its effectiveness,and formed his own dialectical and unified“Genius”theory system.

关 键 词：阿多诺 天才论 主客体 真理性 

分 类 号：B83-0[哲学宗教—美学]