*新书上架*【阿多诺】美学理论.pdf

AestheticTheoryThispageintentionallyleftblankAestheticTheoryTheodorWAdornoGretelAdornoandRolfTiedemann,EditorsNewlytranslated,edited,andwithatranslator'sintroductionbyRobertHullotKentorcontinuumLONDONNEWYORKContinuumTheTowerBuildingLexingtonAvenue,YorkRoad,NewYork,NY,London,SENXwwwcontinuumbookscom©bytheRegentsoftheUniversityofMinnesotaAllrightsreservedNopartofthispublicationmaybereproducedortransmittedinanyformorbyanymeans,electronicormechanicalincludingphotocopying,recordingoranyinformationstorageorretrievalsystem,withoutpriorpermissioninwritingfromthepublishersOriginallypublishedasAsthetischeTheorie,©SuhrkampVerlag,FrankfurtamMainThistranslationpublishedbyTheAthlonePressLtdThiseditionpublishedbyContinuumBritishLibraryCataloguinginPublicationDataAcataloguerecordforthisbookisavailablefromTheBritishLibraryISBN–––PrintedandboundbyMPGBooksLtd,BodminTranslator'sAcknowledgmentsixTranslator'sIntroductionxiArt,Society,AestheticsArt'sSelfEvidenceLostAgainsttheQuestionofOriginTruthContentandtheLifeofWorksOntheRelationofAnandSocietyCritiqueofthePsychoanalyticTheoryofArtTheArtTheoriesofKantandFreud"ThePleasureofArt"AestheticHedonismandtheHappinessofKnowledgeSituationDisintegrationoftheMaterialDeaestheticizationofArt,CritiqueoftheCultureIndustryLanguageofSufferingTheNew:ItsPhilosophyofHistoryOntheProblemofInvarianceExperiment(I)DefenseofIsmsIsmsasSecularizedSchoolsFeasibilityandAccidentModernityandQuality"SecondReflection"TheNewandDurationDialecticofIntegrationandthe"SubjectivePoint"TheNew,UtopiaandNegativityModernArtandIndustrialProductionAestheticRationalityandCriticismCanonofProhibitionsExperiment(II),SeriousnessandIrresponsibilityBlackasanIdealRelationtoTraditionSubjectivityandCollectiveSolipsism,MimeticTaboo,andMaturityMetierExpressionandConstructionVContentsviCONTENTSOntheCategoriesoftheUgly,theBeautiful,andTechniqueOntheCategoryoftheUglyUgliness:ItsSocialAspectandItsPhilosophyofHistoryOntheConceptoftheBeautifulMimesisandRationalityOntheConceptofConstructionTechnologyDialecticofFunctionalismNaturalBeautyCondemnationofNaturalBeautyNaturalBeautyasa"SteppingOutintotheOpen"OnCulturalLandscapeNaturalBeautyandArtBeautyAreInterlockedTheExperienceofNatureIsHistoricallyDeformedAestheticApperceptionIsAnalyticalNaturalBeautyasSuspendedHistoryDeterminateIndeterminatenessNatureasaCipheroftheReconciledHegel'sCritiqueofNaturalBeauty:ItsMetacritiqueTransitionfromNaturaltoArtBeautyArtBeauty:Apparition,Spiritualization,Intuitability"More"asSemblanceAestheticTranscendenceandDisenchantmentEnlightenmentandShudderArtandtheArtAlienTheNonexistentImageCharacter"Explosion"ImageContentIsCollectiveArtasSpiritualImmanenceofWorksandtheHeterogeneousOnHegel'sAestheticsofSpiritDialecticofSpiritualizationSpiritualizationandtheChaoticArt'sIntuitabilityIsAporeticIntuitabilityandConceptualitySemblanceandExpressionCrisisofSemblanceSemblance,Meaning,and"tourdeforce"TowardtheRedemptionofSemblanceExpressionandDissonanceSubjectObjectExpressionasEloquenceDominationandConceptualKnowledgeExpressionandMimesisDialecticofInwardnessAporiasofExpressionEnigmaticalness,TruthContent,MetaphysicsCritiqueandRedemptionofMythTheMimeticandtheRidiculousCuibonoEnigmaticalnessandUnderstanding"Nothingshallbeleftunchanged"Enigma,Script,InterpretationInterpretationasImitation"Block"FracturedTranscendenceOntheTruthContentofArtworksArtandPhilosophyCollectiveContentofArtTruthasSemblanceoftheIllusionlessMimesisoftheFatalandReconciliationMethexisinDarknessCONTENTSCoherenceandMeaningLogicalityLogic,Causality,TimePurposefulnesswithoutPurposeFormFormandContentTheConceptofArticulation(I)OntheConceptofMaterialTheConceptofSubjectMatterIntentionandContentIntentionandMeaningTheCrisisofMeaningTheConceptofHarmonyandtheIdeologyofClosureAffirmationCritiqueofClassicismSubjectObjectSubjectiveandObjectiveareEquivocalOnAestheticFeelingCritiqueofKant'sConceptofObjectivityPrecariousBalanceLinguisticQualityandCollectiveSubjectSubjectObjectDialectic"Genius"OriginalityFantasyandReflectionObjectivityandReificationTowardaTheoryoftheArtworkAestheticExperienceIsProcessualTransienceArtifactandGenesisTheArtworkasMonadandImmanentAnalysisArtandArtworksHistoryIsConstitutive"Intelligibility"TheNecessityofObjectivationandDissociationUnityandMultiplicityTheCategoryofIntensity"Whyaworkcanrightfullybesaidtobebeautiful""Depth"TheConceptofArticulation(II)OntheDifferentiationofProgressDevelopmentofProductiveForcesTheTransformationofArtworksInterpretation,Commentary,CritiqueTruthContentIsHistoricalTheSublimeinNatureandArtTheSublimeandPlayUniversalandParticularNominalismandtheDeclineofGenresOnAntiquity'sGenreAestheticsPhilosophyofHistoryofConventionsOntheConceptofStyleTheProgressofAnTheHistoryofArtIsInhomogeneousProgressandDominationoftheMaterial"Technique"ArtintheIndustrialAgeNominalismandOpenFormConstruction,StaticandDynamicSocietyDoubleCharacterofArtfaitsocialandAutonomyOntheFetishCharacterReceptionandProductionChoiceofThematicMaterialArtisticSubjectRelationtoScienceArtasComportmentIdeologyandTruth"Guilt"OntheReceptionofAdvancedArtMediationofArtandSocietyCritiqueofCatharsisKitschandtheVulgarAttitudetoPraxisEffect,LivedExperience,"Shudder"CommitmentAesthetiviicism,Naturalism,BeckettAgainstAdministeredArtThePossibilityofArtTodayAutonomyandHeteronomyPoliticalOptionProgressandReactionArtandthePovertyofPhilosophyPrimacyoftheObjectandAnTheProblemofSolipsismandFalseReconciliationParalipomenaTheoriesontheOriginofArtDraftIntroductionTheObsolescenceofTraditionalAestheticsTheChangingFunctionofNaiveteIrreconcilabilityofTraditionalAestheticsandContemporaryArtTruthContentandtheFetishCharacterofArtworksTheNeedforAestheticsAestheticsastheRefugeofMetaphysicsAestheticExperienceasObjectiveUnderstandingWorkImmanentAnalysisandAestheticTheoryOntheDialecticsofAestheticExperienceUniversalandParticularCritiqueofthePhenomenologicalResearchofOriginRelationtoHegel'sAestheticsTheOpenCharacterofAestheticsAestheticsofFormandAestheticsofContent()AestheticsofFormandAestheticsofContent(II)NormsandSlogansMethodology,"SecondReflection,"HistoryEditors'AfterwordNotesIndexviiiCONTENTSTranslator'sAcknowledgmentsItisnotrecordedthatJobwasworkingonatranslation,butIwouldn'tdoubtitWhatevercouldinterfereinthisprojectinterfered:illness,earthquake,andunemploymenttookturnswithlesserscourgesThetranslationstretchedyearsbeyondtheyearplannedThatitdidnotfinallygetleftonadoorsteporslidbehindabookshelfIoweinparttofriends,toSteveBabson,JeryZaslove,MartyJay,BillDonoghue,MiltonCantor,andmostofalltomywife,OdileHullotKentorAndeveryreaderofthisbookisindebtedtoJulianeBrand,whopainstakinglycheckedthetranslationagainsttheoriginal,wordbyword,suggestedinnumerableimprovements,and,asitscopyeditoraswell,helpedbringthetranslationtoanaltogethernewlevelHerexpertise,generosity,andcalmgoodwillmadeherawonderfulandindispensableallyIalsowanttothankShierryNicholsen,MikeRichardson,andDonShumakerfortheirvariouscontributionsixThispageintentionallyleftblankTranslator'sIntroductionEverytranslationmustfitoneworldinsideanother,butnoteveryworktobetranslatedhasbeenshapedbyemphaticoppositiontotheworldintowhichitmustbefittedThisis,however,thecasewithAestheticTheory,whichTheodorAdornowasabletowriteonlybyleavingtheUnitedStates,wherehehadlivedforadecadeduringthewaryears,becameacitizen,andoftenthoughthemightneedtoremainAnyreviewofthemanyAmericanphrasesthatAdornoscornfullyquotesthroughoutAestheticTheorythe"tiredbusinessman,"the"pinup,"the"whatdoIgetoutofit"willconfirmthatnotleastofallthebookwaswritteninrefusalofacountrythatitdepictsasacompletelycommercialorderEvensounproblematicallyscannableaphraseas"Onlywhatisuselesscanstandinforthestuntedusevalue"drawsonthetransformationofdistinctlyEuropeanexperiencesofaristocracyIntheUnitedStates,suchanidea,ifitgetsasfarascognition,fallsaskanceoftheinheritancesofapuritanicalmindthathasalwayssuspectedthatartdoesnotproperlyworkforalivingandmightencourageotherstodothesameAndjustopeningtoanypage,withoutbotheringtoreadaword,oneseesthatthebookisvisiblyantagonisticNoonefromthelandofedutainmentwouldcomposethesestarklyunbeckoningsheersidesoftype,uninterruptedbychaptertitlesortypographicmarkers,thathaveseveredandjettisonedeveryapproachandpatchedovermosteveryapparenthandholdThebook'sstylisticpeculiaritiesderive,asawhole,fromwhatmakesAestheticTheoryinimicaltoanAmericancontext:thatitisorientednottoitsreadersbuttothethinginitselfThisisnot,aswillbeimmediatelysuspected,motivatedbyindifferencetoitsreadersOnthecontrary,thebookmakesitselfremotefromitsxiconsumptionoutofinterestin,andbyitspowerof,selfimmersionAestheticTheoryisanattempttoovercomethegenerallyrecognizedfailingofaestheticsitsexternalitytoitsobjectthatBarnettNewmanoncedidtheworldthefavorofputtinginanutshellwhenhefamouslyquipped,speakingofhimselfasapainter,that"aestheticsisformelikewhatornithologymustbelikeforthebirds"Artworksareafterallunique,notleastinthat,whentheyareexperienced,theyareexperiencedfromwithinItispossibletovanishintoanovelorapaintingandbehalfsurprised,lookingawayforamoment,thattheworldwaseverthereatallAnyoneturningtoaestheticswouldexpectthat,tocallitselfaesthetics,itwouldbealliedwithwhatisexceptionalintheexperienceofitsobjectButwhatisdiscoveredinsteadisadisciplinethatthroughoutitshistoryhasworkedattheconceptualundergirdingofstandardsofbeauty,thesublime,taste,art'sdignity,andsoon,whilefailingtoachievethestandardoftheexperienceofwhatitpurportstotreatThesuspicionisirrepressiblethateitheraestheticsistheworkofthewillfullydeaf,blind,andinsensateorthatartisunderaspellthatprohibitsitsinnercomprehension,asifhereoneispermittedentryasnowhereelseonlyontheconditionthatoneleaveemptyhandedandneverbeabletosaywhatthedifferenceisbetweenitandjusthavingbeendistractedAdorno'sAestheticTheorymeanstobreachthisexternalityofaestheticstoartItishardlythefirstefforttodosoButwhenaestheticshasbecomedissatisfiedwithitselfandtriedtoescapeitsexternalityithasalmostalwaystakentheformofpretendingtobeartinapictorial,effusivevoice,orithasofferedtoactasmaitred'toaspecializeddomainofpleasureEithereffort,however,onlycamouflagesthepresuppositionthatintellectmustrenounceknowingartfromwithinAestheticTheory,bycontrast,isorientedtoanearlyaphorismthatAdornowroteaboutmusicthatwasseminaltohisthinkingaboutartasawhole:"Wedon'tunderstandmusic,itunderstandsus"Theaestheticsrequiredbythisperceptionwouldberemotetoallartappreciationitssightlineswouldrunoppositethoseangledbytheintensifyingneedforartthatmakespeoplemillaroundartmuseumsinconstantlygreaternumbers:itwouldbeart'sownunderstandingthepresentationofitstruthcontentConjuringthisgenieoutofthebottlewouldseemtorequirethesacrificeofsubjectivitytowhatisbeyonditselfIfthethinginitselfistospeak,subjectivity'sownvoicemustonlyinterfereThisthesiscouldperhapslookforconfirmationinDialecticofEnlightmentinwhichAdornoandHorkheimershowthatfascismdidnotsimplycoaxcorneredreasonintodeliriumbutwasitselfapotentialimplicitinreason'sowncompulsiontowardallencompassingdominationYettheauthorsneversoughttosubvertsubjectivityortocountermandenlightenment,thecourseofsubjectivity'sdevelopmentasreasonIfenlightenmenthadcometoadeadendinfascism,itsabrogationwouldmaketerrorpermanentRather,AdornoandHorkheimertookthesideofenlightenmentandtriedtodiscernthelogicofitsfailureWhattheyshowedwasthatitmisseditsaimofhumanemancipationfromxiiTRANSLATOR'SINTRODUCTIONnaturalnecessityandthesecondnatureofsocialconstraintbecausethedominationofnatureunwittinglyrequiresthesacrificeofsubjectivityTherecognitionthatinmaximapotentiaminimalicentiaismillenniaoldButDialecticofEnlightenmenttookthisthoughtinastrictlymoderndirection:iftheselfisprogressivelylimitedanddeprivedthroughthedominationofitsobject,ifhumanityissubordinatedtonecessitybythestruggleagainstit,thentheemancipationofthesubjectdependsonitscapacitytoemancipateitsobject,andthisrequiresallpossiblesubjectivespontaneityAdomo'sthesisthatsubjectivitycouldonlybetranscendedbywayofsubjectivity,andnotbyitslimitation,isonewayofformulatinghisseminalinsight:thatidentityisthepowerofnonidentityThephilosophicalmeansforgivingshapetowhatismorethansubjectivitywouldbe,paradoxically,thoseofconceptualcognitionthat,sinceKant'sCopernicanturn,specificallylimitedknowledgetotheworldconstitutedbysubjectivitythissideofthethinginitselfAsAdornowroteintheintroductiontoNegativeDialectics,heconsidereditthetaskofhisthought"tousethestrengthofthesubjecttobreakthroughthefraudofconstitutivesubjectivity"ThepowerofidentitymanifestinKant'stranscendentalismasconceptsthatconstitutivelydefinethelikenessoftheworldwiththesubjectwouldgobeyondconstitutivesubjectivityifconceptscouldbedevelopedinsuchawayastopresentwhatismorethanconceptualinthemThatconceptsaremorethantheirdefinitionalcontentisimplicitintheideaofadialecticofenlightenment:forifenlightenmentregressestothenaturalnecessitythatitattemptstodominate,thenconcepts,whichostensiblyservetoidentifytheworldwithitsknower,areactuallyartifactsmostdeeplyshapedbywhatenlightenmentnevermasteredIdentitymustbemorethanidentityinthatitdrawsbackintoitselfwhatitpurportstoovercomeTheconcealedcontentofenlightenment,thecontentofconcepts,wouldbethatnaturethatsubjectivitysoughttodominateinitsownrisetopowerThisdefinesAdorno'sapproachinAestheticTheorytothepossibilityofbreachingtheexternalityofaestheticstoart:anaestheticsthatwantstoknowartfromwithintopresentwhatartitselfunderstandswouldconsistofwhatacontemporarynominalistintelligence,alwaysvergingonirrationalism,dismissesastheoppressive,overstuffedfurnishingsofanagecredulousofabsolutes:naturalbeauty,artbeauty,truth,semblance,andsoon,thefundamentalconceptsofaestheticsAlthoughtheseconceptsemergedintheefforttomastertheirmaterial,theyaremorethanthatFreedfromthecompulsionofdominationtheywouldpotentiallyrevealtheirparticipationinwhattheysoughttodominateandtheimpressofthatthroughwhichtheydevelopedAestheticconceptswouldbecomethememoryofnaturesedimentedinart,whichforAdornotakesshapeinAestheticTheoryastheunconscious,mimeticallywrittenhistoryofhumansufferingagainstwhichenlightenmentelsewheresealsitselfoffOnlythiscontentcouldpossiblybringreason'sstrugglefordominationtoitssensesanddirectitspowertowhatwouldacTRANSLATOR'SINTRODUCTIONxiiituallyfulfillitThusAdornoorganizedAestheticTheoryasaparatacticalpresentationofaestheticconceptsthat,byeschewingsubordinatingstructures,breaksthemawayfromtheirsystematicphilosophicalintentionsothattheselfrelinquishmentthatisimplicitinidentitycouldbecriticallyexplicatedaswhatisnonintentionalinthem:theprimacyoftheobjectThroughouthisyearsintheUnitedStates,AdornoonmanyoccasionsmetwiththerejectionofhisworkbypublisherswhosawhiswritingssimplyasdisorganizedItwasobvioustoAdornothatwhathewaspursuingrequiredhisreturntoGermanyifonlybecauseinthespublishingwasstilllesscommerciallyunifiedthanintheUnitedStatesandpermittedwritersgreatercontrolovertheirworkthanhereOneeventdid,however,finallyprompthimtoleaveWhentheeditorialboardatthePsychoanalyticSocietyofSanFranciscofinishedwithhisessay"PsychoanalysisRevised,"hefoundthat"theentiretextwasdisfiguredbeyondrecognition,thebasicintentioncouldnotbediscerned"AsAdornorecounted,theheadeditorexplainedthatthestandardstowhichtheessayhadbeenadjusted,whichmadeitlooklikeeveryotheressayinthejournal,werethoseoftheprofession:"Iwouldonlybestandinginmyownway"Adornowastold"ifIpassedupitsadvantagesIpassedthemupnevertheless"AdornomovedbacktoEuropeAdorno'ssensethatstayingherewouldhaveimpossiblyburdenedhisworkwasconfirmedlongafterthefactbythefirstEnglishtranslationofAestheticTheoryinThepublisher,partiallyagainstthewillofthetranslator,discardedthebook'sformasasuperstitiouslyimposedimpedimentthatwouldonlystymiethebook'sconsumptionDiametricallyopposedtothecoursethebooktookinitsvariousdraftsinAdorno'sownhands,aprocessthatledinthefinalversiontotherejectionofthedivisionofthebookintochapters,thetranslationarrivedonbookstoreshelvesdividedintonumberedchapterswithmainheadingsandsubheadingsinsertedinthetextParagraphindentationsweredistributedarbitrarilythroughout,completingtheimageofamonodirectionalsequenceoftopicsentencesthatcouldbefollowedstepwisefromchapterthroughchapterThissubordinatedthetext'sparatacticalordertoasemblanceofprogressiveargumentationthatofferedtopresentthebook's