CAJ | 학술논문

从康德到法兰克福学派的艺术自律思想可以描述为“从美学的革命到革命的美学”.阿多诺和马尔库塞侧重艺术功能论意义上的艺术自律性探讨,具体表现为对现代艺术的推崇和对文化工业的批判两个方面,主张通过艺术的自律性来实现社会批判和人的自由解放的革命目标.这样一来,以自身为目的的艺术自律性又成了实现他律性目标的手段,艺术自律性问题在社会批判视野中的悖论由此显现.对这一问题的厘清有助于我们更全面地把握批判理论的思想精华,也为中国当代美学理论的建构提供了思路.
종강덕도법란극복학파적예술자률사상가이묘술위“종미학적혁명도혁명적미학”.아다낙화마이고새측중예술공능론의의상적예술자률성탐토,구체표현위대현대예술적추숭화대문화공업적비판량개방면,주장통과예술적자률성래실현사회비판화인적자유해방적혁명목표.저양일래,이자신위목적적예술자률성우성료실현타률성목표적수단,예술자률성문제재사회비판시야중적패론유차현현.대저일문제적전청유조우아문경전면지파악비판이론적사상정화,야위중국당대미학이론적건구제공료사로.
Artistic autonomy, passed down from Kant, Schiller to Frankfurt School, evolved from ＂aesthetic revolution＂ to ＂revolutionary aesthetics＂. Adorno and Marcuse discussed the autonomy of art from the angle of its function which included advocacy of modem art and critique of cultural industry. They suggest that only through the autonomy of art could we achieve the revolutionary goals of social cri- tique and liberation of human beings. As a result, the autonomy of art has become a means of achieving the goals of heteronomy. It is obvious that the autonomy of art embodies a paradox in the field of social critique. The clarification of this issue paves the way for a complete understanding of critique theory and provides insights for the establishment of contemporary aesthetic theory in China.