艺术作品之为单子的美学命题表达着特殊的作品观念。这种观念成形于19世纪与20世纪之交,人与宇宙关系的变革重构了经验世界,本雅明在批判近代机械宇宙论和康德经验论的基础上提出全新的宇宙经验理论,从而建构了一个为认识奠定经验基础的星丛世界。阿多诺在否定的辩证法中对其进行动态重塑,从微观至宏观建构了艺术力场、星丛意识、社会历史多层次的艺术单子结构,正式确立艺术单子论。在20世纪西方马克思主义的哲学转向的大背景下,艺术单子论在文化批判的思想史氛围中释放出意识形态批判潜能。它通过原子与单子的基质对立,揭示出资本主义社会的审美幻象。艺术单子论的表象性地位标识出其在政治实践上的限度,这一限度在后来的马克思主义者的理论建设中表现出与政治艺术相融合的两种趋势。
Abstract
The aesthetic proposition of “Artwork as Monad” expresses a special conceptualization of art works. This notion took shape at the turn of the 19th and 20th centuries, during a period when transformation of the relationship between man and the universe reconstructed the empirical world. Walter Benjamin, through his critique of modern mechanical cosmology and Kantian empiricism, proposed a new cosmic empirical theory, thus constructing a world of Konstellation that laid an experiential foundation for knowledge. Theodor W. Adorno dynamically remolded it via negative dialectics. From the micro to the macro, the artwork-as-monad structure includes Machtfeld of art, consciousness of Konstellation and social history. Within the philosophical turn of 20th-century Western Marxism, the artwork-as-monad theory has released the potential for ideological critique. It reveals the aesthetic illusion inherent in capitalist society through the dichotomy between the atom and the monad. However, the theoretical positioning of artwork-as-monad theory also indicates its limits in political practice, as later Marxist theorists extended these ideas into two distinct tendencies merging with political art.
关键词
艺术单子论 /
单子 /
星丛 /
艺术力场 /
否定辩证法
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Key words
artwork as monad /
the monad /
Konstellation /
Kunstmachtfeld /
negative dialectics
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