阿多诺视角下的文化工业批判与救赎  

The Critique and Redemption of the Culture Industry from Adorno’s Perspective

作　　者：吴书林 张鸿稼 WU Shulin;ZHANG Hongjia(School of Philosophy,Sichuan Normal University,Chengdu 610066,Sichuan)

机构地区：[1]四川师范大学哲学学院,四川成都610066

出　　处：《陕西理工大学学报(社会科学版)》2025年第2期50-56,共7页Journal of Shaanxi University of Technology(Social Science)

摘　　要：阿多诺对文化工业的批判揭示了其对文化和人的深刻影响。阿多诺从文化工业产品的标准化、娱乐化和商品化进行批判,揭示出文化工业对人的控制和欺骗。文化工业不仅抹除了文化的内在差异,使文化退化为娱乐文化、消费文化,还抹除了个体间的差异,使个性化的消费者转变为普遍的消费者。阿多诺以艺术作为救赎,通过艺术的真理性、自律性、社会性以及对自然美的摹仿来对抗文化工业的同一性。但这种救赎局限于精神层面,无法引导实践、支撑实践,且忽视了主体的否定性,导致无法真正的改变文化工业、改变社会。Adorno’s critique of the culture industry reveals its profound impact on culture and humanity.By targeting the standardization,entertainment-oriented nature,and commodification of cultural products,Adorno exposes how the culture industry controls and deceives individuals.It not only erases the inherent diversity within culture,reducing it to mere entertainment and consumerism,but also eliminates differences among individuals,transforming them into homogenized consumers.Adorno proposes art as a form of redemption,countering the homogenizing force of the culture industry through art’s truthfulness,autonomy,social dimension,and imitation of natural beauty.However,this redemption remains confined to the spiritual realm:it fails to guide or sustain practical action,neglects the subject’s capacity for negation,and ultimately proves inadequate to genuinely transform the culture industry or society.

关 键 词：阿多诺 文化工业 大众文化 文化工业产品 艺术 

分 类 号：B15[哲学宗教—世界哲学]