The Dialectics Of Autonomy And Heteronomy

The suggestion of aesthetic non-interests can be traced back to the eighteenth-century British empiric estheticians.It is Kant who really laid the theoretical foundation for aesthetic autonomy,and he has thus obtained the independent status of legality in aesthetic activities.Since Kant,the concept of aesthetic autonomy and heteronomy has always been a classic issue in the history of aesthetics,and its connotation has been continuously enriched with the development of the times.In the20 th century,Western Marxist aesthetics had a major influence in the Western theoretical circle.Its social critical theory is unique.Adorno is an important representative of this aesthetic trend.The problems of artistic autonomy and heteronomy are the core of Adorno ’ s aesthetic thought problem.In response to the social situation at that time,Adorno gave new connotations to artistic autonomy on the basis of criticizing and inheriting the ideas of predecessors.In Adorno’s view,art has the dual characteristics of autonomy and heteronomy.On the one hand,art must follow its own logic and formal laws;on the other hand,art must stand on the opposite side of society and maintain a certain distance from society.This is to fight against alienated society.In order to avoid art going to any extreme,Adorno’s dialectics of art autonomy has an inherent tension.The first part of the thesis,it mainly explores the historical and theoretical background of the formation of Adorno’s aesthetic thoughts,and combs the aesthetic concepts of aesthetic autonomy and heteronomy in the history of Western aesthetics before Adorno,so as to discuss Adorno’s concept of art autonomy and heteronomy on the basis of inheriting and criticizing the aesthetic ideas of his predecessors.The second part of the thesis,mainly discusses Adorno’s concept of art autonomy and heteronomy,including Adorno’s criticism and acceptance of aesthetic autonomy,the connotation of art autonomy and heteronomy,and the metaphorical expression and resistance to social suffering.The third part of the thesis,mainly discusses art autonomy and other disciplines from the perspective of modern art.It involves the musician Schoenberg and writer Kafka that Adorno talks about,focusing on Adorno’s literary works on Kafka.Critics talked about art autonomy and other disciplines,and Schoenberg’s atonal music talked about art autonomy and other disciplines.The fourth part of the thesis,discusses the limit and significance of Adorno’s aesthetic thought,which is mainly related to the criticism of cultural industry and the redemption of modernist art.