現代美術學報 6[摘要] | 各期學報

摘要

本文旨在闡明阿多諾的非同一性思維與現代藝術的關係。前言，指出本文的論述方法。第二部分，分析《理性辯證法》、《Minima Moralia》、《否定辯證法》和《美學理論》之間非同一性思維的發展。第三部份，標示出非同一性思維的歷史位置，並追溯歐洲同一性到非同一性之思想源流與發展狀況。第四部分透視阿多諾的非同一性思維與現代藝術的結合，包括他辯證現代藝術之物化、退化、去美感和有罪等問題，以及同《美學理論》的晦澀文體之關聯。第五部分探討阿多諾從現代藝術之非同一性外貌，看出「新主體」（sujetnouveau）與「否定性」（negativite）之運作面貌，此為非同一性語言之核心精神。第六部分，從《美學理論》論述現代藝術的方式，歸納出「感受視野」與「客體視野」兩個範疇的操作狀況，包括引發「擴張性辯證」的關鍵論點：「現時」與「承認式察覺」。最後，總結出阿多諾串聯現代藝術所實踐出的非同一性語言，依賴一個創造性的論點：即使最爭議性的溢出，均屬於自由狀態的另類主體表現。

關鍵詞

非同一性，現代藝術，非同一性外貌，語言，察覺

Abstract

This paper aims to explore the relationship between Adorno's thought of non-identity and modem art. The introduction describes the analytical approach of this paper. The second section analyzes the development of the thought of non-identity in The Dialectics of the reason, Minima Moralia, Negative Dialects, and Aesthetic Theory. The third section locates the historical stand of the thought of non-identity, and searches the origins and development of European thoughts from identity to non-identity. The forth section looks into the integration of Adorno's thought of non-identity and modern art. Issues such as how Adorno argued reification, regression, desesthetisation, and culpability, and their relations with the obscure language in Aesthetic Theory are discussed in this section. The fifth section investigates the appearance of Adorno's non-identity, so to identify the operational aspects of "new subject" and "negativity". These are, in fact, the spirit of non-identity language. The sixth section inducts the operational conditions of receptive vision and objective vision from the methods that Aesthetic Theory approaches modem art. These conditions include the two key arguments in the dialectics of expansion: "Present" and "Admitting Perception". The conclusion of the paper points out that the non-identity language that Adorno used to connect his thought with modem art is based on a creative argument: even the most controversial vision belongs to the free form of an alternative representation of subject.