| 后现代语境下阿多诺美学的复兴与超越 |
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| 引用本文： | 刘晓燕.后现代语境下阿多诺美学的复兴与超越[J].湖南科技学院学报,2008,29(3):66-68. |
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| 作者姓名： | 刘晓燕 |
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| 作者单位： | 深圳大学传媒与文化发展研究中心,深圳,广东,518060 |
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| 摘 要： | 从艺术与社会的关系角度,可以将马克思主义美学的接受分为三种模式:以普列汉诺夫为代表的艺术工具论、以卢卡奇为代表的"总体性"艺术形式论和以阿多诺为代表的艺术单子定位论.通过比较,挖掘阿多诺在马克思主义美学接受史中的独特性及其理论特质.以艺术自律性概念为支点,才能真正实现在后现代语境下对阿多诺美学的复兴与超越.
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| 关 键 词： | 马克思主义美学 阿多诺 艺术自律性 |
| 文章编号： | 1673-2219(2008)03-0066-03 |
| 修稿时间： | 2007年12月15 |
Rebirth and Transcendence of T. W. Adorno's Aesthetics in Post-Modernism Context |
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| LIU Xiao-yan.Rebirth and Transcendence of T. W. Adorno's Aesthetics in Post-Modernism Context[J].Journal of Hunan University of Science and Engineering,2008,29(3):66-68. |
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| Authors: | LIU Xiao-yan |
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| Institution: | LIU Xiao-yan (Center For Media &Cultural Changes,Shenzhen,Guangdong,518060,China) |
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| Abstract: | From the point of view of the relationship between art and society, we can distinguish three kinds of acceptant modes of Marxism aethectcs: Georgii Valentinovich Plekhanov's artistic organum, Gyorgy Lukacs's totality of the artistic forms, and T. W. Adorno's artistic monad. Through comparing, we can understand Adorno's peculiar value. Only based on his artistic autonomy concept, can we achieve the rebirth and transcendence of T. W. Adorno's aesthetics in post-modernism context. |
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| Keywords: | Marxism Aesthetics T W Adorno artistic autonomy |
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