阿多诺的否定美学:从审美到审丑的辩证法

Adorno's Negative Aesthetics: The Dialectics from Aesthetic to the Appreciation of Ugliness

阿多诺的"美学理论"因其"反体系"的努力而成了独特的现代美学体系:否定美学。从美学史来看,否定美学首先要"辩证否定"的正是以康德、黑格尔为代表的唯心主义美学体系。阿多诺继承了康德形式美学的"自律性"概念和黑格尔内容美学的辩证法,但否定了"纯粹的形式"和"同一性",试图在不改变"轴心"的前提下把唯心主义美学转向社会现实。自律性和社会性辩证统一,社会性是艺术获得自律性的前提,自律性又在否定中突出了社会性,两者同经验现实形成了辩证的否定关系。现代主义艺术正是这种否定关系的产物,是艰难时世的"恶之花",丑因其否定性而成为现代主义艺术热衷表现的主题。从某种程度上来说,否定美学就是审丑的美学。

Adorno’s'aesthetic theory',in terms of its anti-system,is a special modern aesthetic system: anti-aesthetics. What the negative aesthetics done first is 'negative'the aesthetics of idealism represented by Kant and Hegel dialectically. Adorno accepted the paradigm 'autonomy'of Kant’s formal aesthetics and the dialectical method of Hegel’s content aesthetics,but he denied'pure form'and'identity'; He tried to turn ideal aesthetics to reality while without changing its'axis'. Autonomy and sociality unites dialectically; sociality is the premise for art getting autonomy,and autonomy embodied sociality in the process of negative,there is a negative relation between art and reality. Modern art,produced from this negative relation,is the 'flower of evil'in a hard age. Ugliness,in the light of negativity,becomes the favorite theme of modern art,and negative aesthetics is the aesthetics of ugliness in a degree.