美的物質性

Abstract

本文試圖由社會學的角度論證阿多諾的美學理論實質上是一個藝術社會學的論述，而且，他的美學理論實際上是一個藝術作品的理論。具體且優先存在的藝術作品必須具體地被面對，既不能以理論既存的概念體系，也不能以藝術史的風格或類型的標籤去加以標定。藝術作品是一個自我封閉的實體，它既與創作者的主觀意向性無關，也與詮釋者的理論思考或知識背景無關。它遵循自身的形式法則與結構邏輯。在方法論上強調藝術作品的優先性的意義在於：研究者首先必須具體地直接面對個別的藝術作品。美學自主性則出現在藝術與社會對立的位置上，但它同時又是社會性的歷史產物。自主性是阿多諾美學的最高判準。但本文將指出，阿多諾仍未能嚴格區分美學自主性與藝術作品的自主性。藝術作品的自主性的意義在於它能打開欣賞者的美學經驗，擴展知識的界限。在阿多諾一般性的理論建構之後，遵循藝術作品自主性的原則，藝術社會學研究必須從事的是具體的作品分析，重建作品的結構邏輯。

Adorno's aesthetic theory is in fact a sociological discourse of art whose core is the priority of the art work. The concrete art works must be treated concretely, they cannot be handled with the theoretical subsumption or with the reduction of style or genre. The art works are self-closed monads: they are not related to the subjective intentionality of the creator and have nothing to do with the theoretical thinking or knowledge background of the interpreter. They follow their own laws of form and structural logic. It means methodologically that the researcher has to face the individual art work immediately. The autonomy of art, which is the criterium of Adorno's aesthetics, appears when art take the position of being opposed to society. The article would argue that Adorno doesn't distinguish strictly between the autonomy of art and the autonomy of art work. The autonomy of art work means first of all that it opens the aesthetic experiences of the audience and extends its knowledge. After the theoretical construction of Adorno, the focus of the sociology of art has to be the concrete analysis of the individual art work, to reconstruct its immanent structural logic.