The Positive Power And Critical Edge Of Aesthetics

The relationship between modernity and rationality is the core issue of modern philosophy.Adorno’s aesthetic theory lies in the perspective of this problem,and makes a new response to the problem of modernity.Adorno’s aesthetic theory not only coincides with the general theoretical path of aesthetic criticism of modernity,but also rewrites the theoretical pattern of western criticism of modernity with his critical and subversive thoughts.It is the core dimension of Adorno’s reflection on modernity to construct the critical dimension of instrumental rationality with the critical power of aesthetic negation and the liberating value of certainty.Adorno criticizes the identity of instrumental rationality on the basis of the existence of non-identity in art,and points out that art shares rationality as a combination of dialectical contradictions,which contains negative dimensions.In this process,Adorno took rationality as the criterion,criticized instrumental rationality,explained the negation and liberation of aesthetics,and in fact formed a two-layer structure of instrumental rationality and substantive rationality.The contradiction of his theory,the lack of practicality and the lack of normative dimension of his theory are in essence closely related to the issue of modernity that he tries to respond to.An important part of Adorno’s theoretical system is the theoretical dialogue with the German classical aesthetics which contains modernity.As for Kant,he rediscusses the core significance of Kant’s system,such as disinterest and sublime.As for Hegel,he made a critical transformation of Hegel on the mediating relationship between subject and object,spirit and other issues.These dialogues are not the interpretation in the orthodox philosophical system,but the revaluation and reconstruction of theoretical resources in the era of Adorno.These dialogues reflect Adorno’s clear-cut position on philosophical theory from theoretical function to theoretical criterion:activating theory to respond to reality.Therefore,another important part of Adorno’s theoretical system is the refutation against the aesthetic theory of his era.The dialogue with historical theory and the defense with the theory of his times constitute two important dimensions of Adorno’s theoretical system,which are not separate systems but mutually causal.In the debate with Benjamin,Adorno made a deep reflection on the self-discipline and sociality of art on their different views on the self-discipline art and mass culture,showing the self-dialectical nature of art for its elegance and popularity,self-discipline and heteronomy.And the cultural choice of the two respectively constitute two kinds of answers to the current social problems.Adorno’s criticism on Heidegger was closely related to the truth of art.Facing Heidegger who tried to return to the heterogeneous history for a way out,Adorno comprehensively discussed the legitimacy of modern art and clearly pointed out the regressive essence of ontology in the present.The core theory of Adorno’s argument is closely related to the social and historical reality at that time,showing the essential connection between the transitivity theory of the criticism of modernity and realistic practice.The motivation to reconstruct history comes from the development of reality and the emergence of new problems.The depth of his response to realistic problems also derives from his insight into the core logic of historical theories.From the perspective of the theory itself,Adorno’s aesthetic theory does have many important logical defects.The problem of aesthetic utopia,the lack of acceptance dimension and the excessive theoretical preference for modern art make his theory lack of practicality.However,if we interpret it from the realistic dimension,its logical contradiction coincides with the contradiction of modernity criticism itself,which also has a profound realistic root.On the one hand,Adorno is profound,and his theory is derived from a deep understanding of this root of reality.On the other hand,it is precisely his theoretical choice from his own standpoint that his theory can only retreat to the aesthetic Utopia which constantly negates but does not regulate,and can only have an empty attitude of rejection but is difficult to practice.Adorno’s theory is the philosophical imprint of the history of aesthetics and modernity.