阿多诺审美乌托邦的记忆伦理及转化

The Ethics of Memory in Adorno’s Aesthetic Utopia and Its Transform

对于奥斯维辛之后艺术如何存在的问题,阿多诺认为战后艺术的合法性建立在对代际累积的受难记忆进行表征的基础之上,借鉴本雅明的神学救赎方法论对奥斯维辛事件及其现代性根源进行反思与批判。受难记忆在艺术作品中以星丛的结构存在,促使作品意义以迸发的方式生成,突破了同一性体系对意义和价值的垄断。以回忆作为手段,艺术通过呈现涵盖奥斯维辛事件的受难记忆,重新理解当代资本主义的发展历程,为想象全新的社会制度创造了可能性,这是构建审美乌托邦的契机。审美乌托邦在否定辩证法的视野下,将受难记忆控诉资本压迫、要求承认其价值地位的伦理性诉求,转化为一种不包含革命选项的认识论话语,兼具意识形态批判与主体重塑。总之,这是从伦理和审美政治的维度拓展了对奥斯维辛事件的思考。

Regarding how art exists after Auschwitz,Adorno argues that the legitimacy of post-war art is based on representing the memory of accumulated intergenerational suffering,which reflects on and criticizes Auschwitz and its roots in modernity with reference to Walter Benjamin’s methodology of theological redemption.Memories of sufferings exist in artworks in a constellation-like structure,causing explosive production of meaning and breaking the monopoly of meaning and value by the identity system.With remembrance as the means,art presents the memory of suffering concerning Auschwitz,and offers a new understanding of the development of contemporary capitalism and possibilities for imagining a new social institution.This is an opportunity to construct an aesthetic utopia.From the perspective of negative dialectics,aesthetic utopia transforms the ethical appeal of the memory of suffering,including the accusation against capitalist oppression and the recognition of its own value and status,into a discourse of epistemology without the option of revolution,which contains both ideological criticism and the reconstruction of the subject.In general,Adorno’s arguments expand the reflection on Auschwitz from the perspectives of ethics and aesthetic politics.