阿多诺线团:从卢卡奇的艺术自为到门克的审美否定  

Adorno’s thread:From Lukács’s Art for-itself to Menk’s Aesthetic Negation

作　　者：李进书[1] 马孝怡 LI Jin-shu;MA Xiao-yi(College of Literature,Hebei University,Baoding,Hebei 071002,China)

机构地区：[1]河北大学文学院,河北保定071052

出　　处：《黑龙江社会科学》2025年第2期93-100,150,共9页Social Sciences in Heilongjiang

基　　金：教育部哲学社会科学研究重大专项项目“西方理论话语的冲击与新时期以来中国当代文论的建构”(2024JZDZ047)。

摘　　要：阿多诺的艺术自主理论犹如一个阿里阿德涅线团,贯穿于卢卡奇的艺术自为观、韦尔默的自主艺术论、詹姆逊的艺术自反理论、朗西埃的审美经验自主思想以及门克的审美否定理论中。阿多诺艺术自主理论之所以被卢卡奇和詹姆逊等理论家视作共同的理论资源,主要在于它揭示了艺术自主的自由本质以及阐明了艺术基本的伦理职责。从这些不同形式的艺术自主概念中,我们既发现了不同的艺术形式采取了相异的自主存在方式,也看到它们以不同方式参与到良善生活建构中。艺术自主赋予了西方马克思主义一种新的“家族相似性”,这些理论家的共同目的是实现个体解放和推动人类进步。It can be said that Adorno’s theory of autonomy of art is like an Ariadne’s thread,running through Lukács’s view of art for-itself,Wellmer’s theory of autonomous art,Jameson’s theory of reflexivity of art,Rancière’s theory of autonomy of aesthetic experience,and Menke’s theory of aesthetic negation.The reason why Adorno’s theory of autonomy of art is regarded as a common theoretical resource by theorists such as Lukács and Jameson is mainly because it reveals the free nature of autonomy of art and elucidates the fundamental ethical responsibilities of art.From these different forms of autonomy of art,we not only discover that different art forms adopt different ways of autonomous existence,but also see that they participate in the construction of a good life in different ways.Autonomy of art endows Western Marxism with a new“family resemblance”,and these theorists share the common goal of achieving individual liberation and promoting human progress.

关 键 词：阿多诺 阿里阿德涅线团 艺术自主 艺术伦理 良善生活 

分 类 号：B83[哲学宗教—美学]