Adornova filozofija umetnosti : negativnost i estetika umetnosti
Adorno's philosophy of art : negativity and aesthetic theory
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Rad Adornova filozofija umetnosti. Negativnost i estetska teorija posvećen je razmatranju ideje estetske teorije Teodora V. Adorna kao načina razumevanja negativnog pojma umetnosti,
koji se ne može adekvatno shvatiti na način na koji tom problemu pristupa filozofska estetika.
Prema tome, ovaj rad obrazlaže Adornov jedinstveni pristup razumevanju umetnosti.
Adornov pristup filozofskom problemu umetnosti razlikuje se od tradicionalnih pristupa u
estetici i filozofiji umetnosti, kao i od nekih estetičkih stanovišta u dvadesetom veku. Ovo
istraživanje uzima u obzir da se takvo shvatanje ne ograničava samo na uži predmet filozofske
estetike – umetnost i lepo – nego predmetni domen postavlja šire i uvide o karakteru savremene
umetnosti proširuje na filozofiju istorije, društva i kulture.
Rad polazi od ideje da se u Adornovom shvatanju umetnost i estetsko iskustvo pojavljuju na
dva osnovna nivoa: jedan je tematski, u kome je filozofsko razmatranje okrenuto interpretaciji
umetničkih dela u čij...oj tehnici se ogledaju aktuelni istorijski procesi kojih je delo proizvod; drugi
je metateorijski u kome estetičar mora da položi račun ne samo o umetničkom delu i materijalu,
nego i o tome šta znači razumevanje i kako se umetničke tvorevine uopšte mogu razumeti. To je
postavljeno kao polazni filozofski problem.
Adorno je, uzimajući u obzir istorijske tendencije moderne muzike od sredine osamnaestog
do polovine dvadesetog veka, pokazao zašto se umetnička dela ne mogu adekvatno razumeti
koristeći standardni metod u filozofiji umetnosti. U prilog tome određene smernice na koje je u
radu skrenuta pažnja dali su i klasični estetičari, pre svih osnivač estetike racionalist
Baumgarten, a za njim i Kant. Pored toga, novi trendovi u avangardnoj muzici s početka
dvadesetog veka Adornu su pružili i uputstva kako bi trebalo postaviti problem razumevanja
umetnosti koja je u industrijskoj kulturi naizgled izgubila smisao i razlog postojanja.
Ovaj problem je polazište Adornovog najvažnijeg rada o estetičkoj problematici, fragmenata
Estetske teorije. Tu se umetnost tretira sa stanovišta negativnosti, pod kojom se podrazumeva
nekoliko značenja: prvo je princip estetske autonomije i autonomni status umetnosti prema kome
se ona posmatra kao područje estetskog oblika racionalnosti i mesto istine, pa time i kritike
saznanja; drugo je položaj umetnosti istovremeno kao socijalne činjenice i zatvorene stvarnosti
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dela, usled koga ona preuzima funkciju kritike društvene prakse; treće je zagonetni karakter
umetničkih dela pred pokušajem pojmovnog saznanja iz čega proističe kritika teorijske estetike i
njenog pojma umetnosti. Svi pomenuti aspekti su obrađeni polazeći od zajedničke premise:
shvatanja umetničkog dela kao mesta pojavljivanja istine. Način na koji Adorno konceptualizuje
pojam negativnog u umetnosti je dijalektički, što ga približava Hegelovom pojmu negativnosti.
U radu se ispituje hipoteza da je u Adornovom shvatanju umetnosti zastupljena koncepcija
interpretacije koju ne nazivamo estetikom, nego estetskom teorijom. Štaviše, estetska teorija je
osobeni način mišljenja i shvatanje koje je prisutno u njegovom filozofskom pristupu raznim
problemima. U slučaju filozofske estetike, s obzirom na postavku negativnosti umetnosti, dolazi
do inverzije odnosa između estetskog iskustva i teorije, pa se estetski način posmatranja ne
smatra samo temom teorijskog ispitivanja nego i načinom na koji filozof pokušava da interpretira
istinu umetničkih dela. Ideja estetske teorije se u ovom razmatranju razlučuje od pojma teorijske
estetike. Adorno tu ideju eksplicira tek u poznoj filozofiji, dok je u ranijim radovima prisutna
samo implicitno.
Kao uzor za ovakvu postavku razumevanja Adornu su poslužila shvatanja muzike kod
predstavnika nove bečke škole: Šenberga, Berga i Veberna. Interpretacija nije više mogla da
bude nešto odvojeno od estetskog iskustva, već je sada postala njegov deo, bez koga nova
muzika nije mogla adekvatno da bude shvaćena. Pravo razumevanje umetnosti je ono u kome
kompetentni posmatrač umetničku ideju razvija koristeći ne samo svoja čula nego ujedno i
intelekt putem koga mu istina dela biva predstavljena kroz dijalektičke pojmove. Model za to je
postupak muzičke analize koji se ovde razmatra u pojedinostima.
Ovakav pristup nije omogućen standardnim shvatanjem filozofskog metoda kao logičkog
dokazivanja, već upotrebom estetske sposobnosti koju Adorno naziva egzaktnom fantazijom.
Delovanje ove sposobnosti prisutno je u dijalektičkom načinu mišljenja uopšte, ne samo o
umetnosti. Centralna funkcija fantazije nagoveštena je već u ideji kritičke teorije, njenom
shvatanju filozofske kritike, odnosa teorije i prakse, kao i u Adornovim ranim radovima od kojih
se ovde uzimaju u obzir dva frankfurtska predavanja i studija o Kjerkegoru.
Delatnost fantazije odslikava estetsku komponentu mišljenja i artikulacije ideja u jeziku,
koja izlazi na videlo u suočavanju sa umetničkim delom. To je jedno od značenja pojma
mimesis, koga Adorno u poznoj filozofiji uvodi kao korektiv pojmovnog mišljenja.
Konačan rezultat rada je zaključak da u Adornovoj filozofiji umetnost nije shvaćena samo
kao predmet filozofske estetike, nego i kao mesto na kome estetičar pronalazi uputstvo za
kritičko razumevanje ne samo umetnosti, već i filozofije, ali potencijalno i celokupne aktuelne
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kulture koja se u ovim oblastima pojavljuje. Ideja estetske teorije kontinuirano određuje Adornov
pristup različitim filozofskim problemima, ali istovremeno otkriva i skriveni estetski potencijal
filozofskog mišljenja.
Doctoral dissertation Adorno’s Philosophy of Art. Negativity and Aesthetic Theory is
dedicated to investigation of Theodor W. Adorno’s idea of aesthetic theory as a way of
understanding of the negative concept of art, which cannot be properly understood if we use the
standard approach of traditional philosophical aesthetics. However, this understanding is being
modified towards an aesthetic understanding which persists through Adorno’s philosophical
oeuvre. This dissertation explicates his unique philosophical approach to art and aesthetics.
Adorno’s approach to philosophical problem of art differs from traditional approaches in
aesthetics and philosophy of art, as well as some aesthetic viewpoints in the 20th century. This
investigation considers that such comprehension does not limit itself to narrow subject of
philosophical aesthetics – art and beauty – but it’s insights on the nature of contemporary art
expands on the fields of philosophy of history, society, and culture.
This work... starts out from the idea that Adorno’s understanding of art and aesthetic
experience diferentiates two main levels: thematic, where philosophical consideration operates
within interpretation of artworks, whose technical structure reflects objective historical process;
the other is metatheoretical, where an aesthetician must give an account not only on works of art
and it’s technique, but about the very act of understanding, what it means and how an artwork
can be understood. This direction initiates a critique of conceptual frame of traditional aesthetics
and philosophy of art.
Adorno’s reconstruction of historical tendency of modern music since the mid 18th century
shows why modern artworks cannot be properly understood with application of standard method
of pilosophy of art. Certain theoretical insights were also given by calassical aestheticians, the
founder of aesthetics Baumgarten and Kant. Besides, new trends in avant–garde music from the
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beginning of 20th century gave Adorno instructions how to comprehend the problem of
understanding of art which had seemingly lost it’s sense and reason for existence.
This problem is a starting point of Adorno’s most significant work in the field of aesthetics,
fragments of posthumously published Aesthetic Theory. This work treats art from the viewpoint
of negativity. Negativity of art has several meanings: it is a principle of aesthetic autonomy,
autonomous position of art, which claims art is a domain of aesthetic rationality and a place of
truth, therefore critique of cognition; it marks contradictory position of art as a social fact and at
the same time closed reality of work, which means that art has a function of a critique of social
praxis; third, enigmatic character of artworks for conceptual cognition which implies a critique
of theoretical aesthetics and a concept of art. The aforementioned aspects share a common
feature: conception of art as a cognition. The way Adorno conceptualises the concept of negative
in art is a dialectical one, which sets him close to Hegel’s concept of negativity.
In this investigation we examine hypothese that in Adorno’s comprehension of art persists a
mode of interpretation which we don’t call aesthetics, but aesthetc theory. Furthermore, aesthetic
theory is a peculiar way of thinking which is present in Adorno’s philosophical approach to
different problems. In the case of philosophical aesthetics, in respect of the idea of negativity of
art, what happens is an inversion of the relation between aesthetic experience and theory, so that
aesthetic way of observation becomes not only a theme of theoretical scrutiny, but also the way
philosophers try to interpret truth of the works of art. The idea of aesthetic theory was explicitly
developed in Adorno’s later philosophy.
However, as a model for this concept of understanding Adorno accepted very early a new
paradigm of atonality developed in music by Schoenberg, Berg, and Webern. Interpretation of
musical works could not be separated from aesthetic experience, it became a part of this
experience, which enabled a proper understanding of new music. Proper understanding of art is
the one in which the competent recipient (listener) develops artistic idea using not only his
senses, but intellect as well. Social truth of work is presented through dialectical mediation of
concepts. Method of musical analysis is a proper model for that, and features of this method are
presented in this dissertation.
This approach is compatible not with traditional philosophical method of deduction, but with
activities of the aesthetic ability named exact phantasy. Presentative functions of this ability are
inseparable from dialectical way of thinking in general. It is anticipated in Horkheimer’s idea of
critical theory, and introduced in more methodical fashion in early Adorno: two Frankfurt
lectures and his study on Kierkegaard. Activity of fantasy reflects latent aesthetic component of
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thinking and articulation of ideas in language, which comes forth in confrontation with the work
of art. It is one of the meanings of mimesis, which was introduced in Negative dialectics as a
corrective of irrationality of conceptual logic, as well as pervasive social irrationality. This
insight is a heritage of Dialectic of Enlightenment.
The final result of the dissertation is a conclusion that in Adorno’s philosophy art is not
comprehended only as a subject of thought, but artistic behavior as a way of thinking was
introduced into aesthetics. This insight was the result of a negative conception of art and
aesthetic experience, their subversion of ordinary model of knowledge and social praxis, and the
capacity for liberation. Adorno’s aesthetic theory embodies and presents this latent potential of
every philosophical thinking.