主体美学反思与范畴辩证转义——阿多诺对康德美学的批判与转化

Reflection on Subject Aesthetics and Dialectical Transformation of Category:Adorno’s Criticism and Transformation of Kant’s Aesthetics

阿多诺对康德美学进行了批判与转化,使其成为非同一性美学的重要思想资源:阿多诺推翻了康德主体美学的“唯美”前提,并由此延伸至对于“直观”方式的批判,以及对“天才”观念的谱系学考察。阿多诺秉持辩证法对概念中介化的内在要求,将康德美学中的核心命题加以转义——在进步的现代艺术中,“自律性”经由社会要素的中介、形式法则富含现实契机的积淀、理性面对艺术作品的“崇高”获得反思性。其中,自然美范畴尤其得到凸显,阿多诺吸纳克拉考尔与卢卡奇的哲学解读方法,将“自然美”在观念论美学中的式微“解码”为主体压制自然的表征,并在其美学思想中赋予“自然”以自我保存理性无法把握的客体性内涵。

Adorno criticized and transformed Kant’s aesthetics,making it an important ideological resource of non-identity aesthetics:Adorno overturned Kant’s“aestheticism”premise of subjective aesthetics,and thus extended to the criticism of“intuitive”way,as well as the genealogical investigation of the concept of“genius”.Adorno adheres to the inherent requirements of dialectics for the mediation of concepts,and transfers the core proposition of Kant’s aesthetics-in the progressive modern art,“self-discipline”is mediated by social elements,the accumulation of formal rules rich in realistic opportunities,and the reflection of rationality in the face of the“sublimity”of art works.Among them,the category of natural beauty is particularly prominent.Adorno absorbed the philosophical interpretation method of Krakauer and Lukacs,took the decline of“natural beauty”in the conceptual aesthetics as the subject,suppressed the representation of nature,and endowed“nature”with the objective connotation of self preservation in his aesthetic thought.