“Mimēsis”的辩证法:阿多诺对“技术”的媒介美学批判  

The Dialectics of“Mimēsis”:Adorno's Criticism on Technology in His Media Aesthetics

作　　者：杨光[1,2] YANG Guang

机构地区：[1]山东师范大学文学院 [2]山东师范大学网络文艺生产与批评研究中心

出　　处：《北京社会科学》2024年第4期24-34,共11页Social Sciences of Beijing

基　　金：国家社会科学基金艺术学重大招标项目(19ZD02)--微时代文艺批评研究。

摘　　要：在阿多诺针对大众媒介技术展开的现代美学批判中,“Mimēsis”(摹仿)的辩证法是核心向度之一。在对本雅明关于技术复制与现代艺术命运关系之思考的容受中,通过指认技术复制是“摹仿的绝对化”而真正艺术是“摹仿行为的庇护所”,阿多诺揭示了“摹仿”在技术时代的美学中仍然能够作为一个批判概念得以存留的可能性和必要性。其根本原因在于:作为摹仿绝对化的技术复制无论其表面上多么繁荣多样,其实质只是“重复”;但如果媒介技术的“复制”功能成为技术时代艺术的重要摹仿对象,在生产差异之“重复”的“摹仿辩证法”中,复制的技术便可以被艺术的摹仿技艺所吸收转化,从而实现技术的美学“救赎”。In Adorno's modern aesthetic criticism on mass media technology,the dialectics of“Mimēsis”(imitation)is one of the core dimensions.In accepting Benjamin's thoughts on the relationship between technical copy and the fate of modern art,Adorno reveals the possibility and necessity that“Mimēsis”can still exist as a critical concept in the aesthetics of the technological age by pointing out that technical copy is the absoluteness of imitation and real art is the shelter of imitation behavior.The fundamental reason lies in the following:no matter how prosperous and diverse it is on the surface,technical copy as the absoluteness of imitation is only“repetition”in essence;however,if the“Copy”function of media technology becomes an important imitation object of art in the technological era,through the dialectics of“Mimēsis”remained in art,the technology can be absorbed and transformed by the“Mimēsis”skills of art,so that the aesthetic“redemption”of technology can be realized.

关 键 词：摹仿 复制 技术 现代艺术 媒介美学 

分 类 号：B832.1[哲学宗教—美学]