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艺术作品在阿多诺那里,并非纯粹人造物,而是具有真理价值的事物。尽管文化工业迫使艺术沦为商品,继而摧毁了艺术的真理性,但在真正的艺术作品里,仍然保有这种真理性内涵。而企及艺术作品真理性内涵的路径只有一条,即通过哲学。更进一步说,即哲学批评。这部分内容,实际并非阿多诺原创,而是源于他对本雅明思想的继承和发展。本雅明认为,哲学批评不同于哲学认识。认识通过概念,是种有向性的思考。而哲学批评的责任则不在于通过概念认知真理,而是依靠理念呈现真理。对此,阿多诺全盘保留了本雅明的思考,并进一步将真理性的内容扩展开来,与艺术对终极事物的追问及其自律性联系在了一起。
In Adorno, the work of art is not purely an artifact, but a matter of truth value. Although the cultural industry has forced art into commodities, which in turn has destroyed the truth of art, it remains true in real works of art. There is only one path to the truthful connotation of art works, that is, through philosophy. To put it in a nutshell, philosophical criticism. This part of the content is actually not original Adorno, but from his inheritance and development of Benjamin’s thought. Benjamin believes that philosophical criticism is different from philosophical understanding. Understanding through the concept is a kind of directional thinking. The responsibility of philosophical criticism, however, lies not in recognizing the truth through the concept but on the idea. In this regard, Adorno retains Benjamin’s thinking in its entirety and further expands the content of truth and ties it with the pursuit of art for the ultimate and its self-discipline.