摹仿与理性的辩证法:论阿多诺的现代主义艺术观  

The Dialectics of Mimesis and Reason:On Adorno’s View of Modernist Art

作　　者：冯月季 张硕硕 FENG Yue-ji;ZHANG Shuo-shuo(Cheung Kong School of Journalism and Communication,Shantou University,Shantou,Guangdong 515063;School of Humanities and Law,Yanshan University,Qinhuangdao,Hebei 066004)

机构地区：[1]汕头大学长江新闻与传播学院,广东汕头515063 [2]燕山大学文法学院,河北秦皇岛066004

出　　处：《汕头大学学报(人文社会科学版)》2024年第8期63-68,96,共7页Journal of Shantou University(Humanities and Social Sciences Edition)

摘　　要：推崇现代主义艺术是阿多诺最鲜明的美学立场。之所以有此观点,与“摹仿”“理性”这两个古老而复杂的美学概念息息相关。“摹仿”中潜在着原初的和解力量,却在启蒙过程中逐渐异化;具有批判性的“价值理性”也发展为极具控制力的“工具理性”。在日益魔幻的现代社会中,现代主义艺术通过“星丛”成为“摹仿”契机的庇护所,救赎自然所允诺的东西,并以“理性”构筑出了整一的“审美形式”,与破碎的现实拉开了距离,成为真理的容身之地。Adorno's most distinctive aesthetic stance is his advocacy for modernist art.This perspective is closely related to the two ancient and complex aesthetic concepts of“mimesis”and“reason”.The concept of“mimesis”harbors a primal reconciliatory force that has gradually become alienated during the process of enlightenment;the critical“value reason”has also evolved into the highly controlling“instrumental reason”.In the increasingly magical modern society,modernist art,through the“constellation”,becomes a refuge for the opportunity of“mimesis”,redeeming what nature has promised,and with“reason”,it constructs a unified“aesthetic form”,distancing itself from the fragmented reality and becoming a dwelling place for truth.

关 键 词：摹仿 理性 星丛 形式 现代主义艺术 

分 类 号：I01[文学—文学理论]