消費時代的社會美學

Socio-Aesthetics in a Consumer Era

10.7065/MRPC.200705.0119

金惠敏(Hui-Min Jin)

物符 ； 消費社會 ； 社會美學 ； 審美現代性 ； Object-Sign ； Consumer Society ； Socio-Aesthetics ； Aesthetic Modernism

哲學與文化

34卷5期（2007 / 05 / 01）

119 - 135

繁體中文

美學的沈寂是一個不爭的國際事實。美學的復興當在於積極回應當代社會的變遷。向於審美現代派的巨大影響，「美學」一直處在與「社會」的生死對抗之中。而今，由於以「物符」為標誌的「消費社會」的到來，原本便具有文化向度的「社會」就變得顯在地「文化」化了，它是符號化，同時也是美學化，這種符號－美學借助於無所不及的商品邏輯和電子媒介取得了空前的社會化，於是一個普遍的「美學社會」已赫然在目。作為一種理論概念，「社會美學」因著這一新穎的現實而終於浮出思想史的地表。

That aesthetics has been long dumb is widely acknowledged. A revival of aesthetics can be fulfilled only by its active response to the social changes nowadays. Under the heavy shadow of the Aesthetic Modernism, aesthetics has been since Kant standing in sharp opposition to society. However, Society in the new context of consumer society which features an object-sign is now becoming more and more culturized, i.e., signed and simultaneously aestheticized. With the aid of the all-reaching commoditization and electronic media, moreover, this sign-aesthetics acquires its highest sociality it never has had before, and an Aesthetic Society has thus come to the fore. Fostered by this social change, Socio-Aesthetics matures and could jump out of the horizon of the intellectual history.