文献类型：期刊文献

中文题名：从“主观美学”到“辩证美学”:阿多诺对康德美学的超越及其启示

英文题名：From“Subjective Aesthetics”to“Dialectic Aesthetics”:Adorno's Transcendence of Kant's Aesthetics and its Implications

作者：范永康[1];袁冰清[1]

机构：[1]绍兴文理学院人文学院

年份：2024

卷号：27

期号：1

起止页码：15

中文期刊名：马克思主义美学研究

外文期刊名：Research on Marxist Aesthetics

基金：教育部哲学社会科学重大攻关项目“马克思主义美学话语体系的历史演变和范式转换研究”(22JZD005)阶段性成果

语种：中文

中文关键词：阿多诺;康德;主观美学;辩证美学

外文关键词：Adomo;Kant;subjective aesthetics;dialectical aesthetics

中文摘要：阿多诺对康德美学的主体性立场、审美自律论、美丑关系论以及感性直观论进行了批判性的超越,他并没有片面地否定康德美学,而是加以辩证地扬弃和综合。与康德的主观美学相比,阿多诺的美学理论具有鲜明的辩证色彩,他深刻地揭示出主体与客体、自律与介入、审美与审丑、直观与概念、形式与内容、共相与殊相之间相互对立、相互依存的关系。阿多诺的辩证美学并非严谨的理论体系,但仍然具有重要的启示意义:一是传统的哲学美学需要契合现代艺术实践,进行现代转换;二是可以运用“中介”思维改进马克思主义美学的辩证法。

外文摘要：Adorno critically transcended Kant's aesthetic subjectivity,aesthetic self-discipline,the relationship between beauty and ugliness,and perceptual intuition.He did not unilaterally deny Kant's aesthetics,but dialectically sublated and synthesized it.Compared with Kant's subjective aesthetics,Adorno's aesthetic theory has a distinctive dialectical color.He has profoundly revealed the relationship between subject and object,self-discipline and intervention,aesthetics and ugliness,intuition and concept,form and content,common and different.Adorno's dialectic aesthetics is not a rigorous theoretical system,but it has important implications.First,traditional philosophy and aesthetics need to fit in with modern art practice,and need to carry out creative development;Second,we can use“intermediary”thinking to improve the dialectics of Marxist aesthetics.