从“美学的革命”到“革命的美学”——法兰克福学派艺术自律思想的批判性考察

From “Aesthetic Revolution” to “Revolutionary Aesthetics”——A Critical Analysis of Artistic Autonomy of the Frankfurt School

从康德到法兰克福学派的艺术自律思想可以描述为"从美学的革命到革命的美学"。阿多诺和马尔库塞侧重艺术功能论意义上的艺术自律性探讨,具体表现为对现代艺术的推崇和对文化工业的批判两个方面,主张通过艺术的自律性来实现社会批判和人的自由解放的革命目标。这样一来,以自身为目的的艺术自律性又成了实现他律性目标的手段,艺术自律性问题在社会批判视野中的悖论由此显现。对这一问题的厘清有助于我们更全面地把握批判理论的思想精华,也为中国当代美学理论的建构提供了思路。

Artistic autonomy, passed down from Kant, Schiller to Frankfurt School, evolved from ＂aesthetic revolution＂ to ＂revolutionary aesthetics＂. Adorno and Marcuse discussed the autonomy of art from the angle of its function which included advocacy of modem art and critique of cultural industry. They suggest that only through the autonomy of art could we achieve the revolutionary goals of social cri- tique and liberation of human beings. As a result, the autonomy of art has become a means of achieving the goals of heteronomy. It is obvious that the autonomy of art embodies a paradox in the field of social critique. The clarification of this issue paves the way for a complete understanding of critique theory and provides insights for the establishment of contemporary aesthetic theory in China.