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德国巳故的文学大师汉斯·迈耶尔对阿多诺的论说文主义曾有过非常到位的描述。在他看来,阿多诺的这一反整体性、未完成的文风似乎是自天而降的个人天才创造。对于这一观点,本文认为,“论说文”应当是由齐美尔首先在当时特定的社会环境下发展起来的特殊文体。这一文学形式经过青年卢卡奇、本雅明的发展,逐渐成为了一种具有本体论特征的文学写作方式。而阿多诺则是在本雅明及尼采的影响下,接受了这一文学形式,成为了论说文文体的集大成者,并将其作为自己哲学思考的及文学写作的理论武器,发展出了自己的“论说文主义”。通过对论说文思想来源及风格特征的分析,本文认为,任何理论家的思想都有其理论来源,绝不是横空出世的。这一观点也同样适用于阿多诺的“论说文主义”。
Hans Meyer, the late German literary master, had a very apt description of Adorno’s thesis on theistism. In his opinion, Adorno’s anti-integrity, unfinished writing style seems to have been created by a genius who has fallen from heaven. For this view, this article argues that “Argumentatives ” should be the special stylistic developed by Simmel in the first specific social context at that time. After the development of young Lukacs and Benjamin, this literary form gradually became a literary way of writing with ontological features. Adorno, however, under the influence of Benjamin and Nietzsche, accepted this literary form and became the master of discoursear style and developed himself as the theoretical weapon of his philosophical thinking and literary writing “On the doctrine ”. Through the analysis of the origin and style characteristics of the argumentative thesis, this paper argues that any theorist’s thought has its theoretical origin and is by no means transgressed. The same holds true for Adorno’s “On Written Writer.”