两极相联:现代性视域下自律艺术与文化工业的悖论--马尔库什对阿多诺艺术批判理论的批判

Connecting Two Poles:The Paradox of Self-regulated Art and Cultural Industry from the Perspective of Modernity--Markus's Criticism of Adorno's Critical Theory of Art

马克思之后,马克思主义美学始终致力于探讨艺术与人类生存及社会结构之间的关系,例如西方马克思主义把艺术理解为人把握世界的一种方式和人的一种存在方式。法兰克福学派代表人物阿多诺延续了马克思主义的资本主义批判立场,将文化工业看作是维护资产阶级统治的意识形态,对其展开透彻批判。与之相对,他把自律艺术看作是唤醒的自由个性和创造性本质的超越手段予以坚决维护。然而,阿多诺主张自律艺术与文化工业绝对二元对立的艺术精英主义遭到了布达佩斯学派代表人物马尔库什的反对。马尔库什主张保持自律艺术与文化工业之间的张力,他认为这种两极相联的动态悖论是现代性视域下艺术的根本特征。

After Marx,Marxist aesthetics has always explored the relationship between art and human existence and social structure.Continuing Western Marxism's understanding of art as a way for people to grasp the world and a way for people to exist,Adorno,a representative of the Frankfurt School,continued the Marxist critical position of capitalism,viewing the cultural industry as a conscious form of safeguarding bourgeois rule,and then launched a thorough critique of its function.In contrast,he regarded the art of self-regulation as a tran­scendental means to awaken the free personality and creative essence.However,Adorno's artistic elitism,which advocated the absolute dualistic opposition of self-regulated art and cultural industry,was opposed by Markus,the representative of Budapest School.Markus advocated maintaining the tension between self-disci­plined art and cultural industry.He believed that the dynamic paradox of the connection between the two poles was the fundamental feature of art from the perspective of modernity.