本文關(guān)鍵詞：“祛魅”與“復(fù)魅”：阿多諾藝術(shù)形式問題探究　出處：《天津師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

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【摘要】：在現(xiàn)代世界的總體性“祛魅”的背景下,“祛魅”之現(xiàn)象已普遍播散于西方現(xiàn)代文明的方方面面,即在藝術(shù)創(chuàng)造及欣賞的領(lǐng)域,特別在藝術(shù)形式上,竟也未能免俗。而西馬的代表性人物阿多諾即敏銳地意識到這一點。并且,他對藝術(shù)形式的考察,并非著眼于藝術(shù)形式之美學(xué)特性,而是其在“文化工業(yè)”的背景下作為“藝術(shù)生產(chǎn)”的社會學(xué)特性。因此他對藝術(shù)形式的探索具有深切的現(xiàn)實感和廣闊的歷史視界。而藝術(shù)形式的“祛魅”則是指藝術(shù)形式浸潤了濃厚的商業(yè)性,包括諸種文藝要素：藝術(shù)世界、作品、藝術(shù)家、欣賞者等,都在藝術(shù)商品化的過程中失去了一些非常基本的特色,從而造成了藝術(shù)的全部“祛魅”。阿多諾認(rèn)識到現(xiàn)代藝術(shù)面臨的極大問題,一方面他認(rèn)為這是社會意識滯后于現(xiàn)代藝術(shù)的發(fā)展的結(jié)果,因此現(xiàn)代美學(xué)的發(fā)展迫在眉睫；一方面他渴望從藝術(shù)內(nèi)部的諸多契機(jī)中尋找自由的能量來對抗這異化的世界。正如他的哲學(xué)思想的具有反體系性、碎片化的特點,他的藝術(shù)“復(fù)魅”之路也沒有一個統(tǒng)一的總體性的方法論。他不是以整體來拯救藝術(shù),而是用多樣性的、破碎性的部分來以“多”救“一”。這些豐富的“多”集合在一起其實才是真實的“總體”,它們看似一粒粒散沙,凝聚在一起卻是以藝術(shù)品的社會效益統(tǒng)領(lǐng)其商品效益的實際力量。
[Abstract]:Under the background of "disenchantment" in the modern world, the phenomenon of "disenchantment" has been widely spread in all aspects of western modern civilization, that is, in the field of artistic creation and appreciation, especially in the form of art. Adorno, the representative figure of Sima, is acutely aware of this. Moreover, his investigation of art forms does not focus on the aesthetic characteristics of art forms. It is his sociological characteristic of "art production" under the background of "cultural industry". Therefore, his exploration of art forms has a deep sense of reality and a broad historical horizon, while the "disenchantment" of art forms is "disenchantment". It refers to the strong commercial form of art. Including various elements of literature and art: the art world, works, artists, appreciators, and so on, in the process of art commercialization lost some very basic characteristics. As a result, Adorno realized the great problems faced by modern art. On the one hand, he thought it was the result of social consciousness lagging behind the development of modern art. Therefore, the development of modern aesthetics is urgent; On the one hand, he longs to seek the free energy from the opportunity of art to fight against this alienated world, just as his philosophical thought has the characteristics of anti-system and fragmentation. His "reenchantment" road also does not have a unified overall methodology. He does not save art by the whole, but with diversity. The broken parts are "saved" by "more". These rich "many" are in fact the real "whole", they appear to be a grain of loose sand. Condensed together, however, with the social benefits of art to dominate the actual strength of its commodity benefits.
【學(xué)位授予單位】：天津師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J0

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相關(guān)期刊論文 前1條

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