哈贝马斯通过对审美话语及其有效性的考察,将现代艺术的审美功能理解为一种现代社会生活的补偿机制。这既是对法兰克福学派第一代理论家审美策略所做的修正,也是对批判理论进行整体性反思的一个必然的结果。在这个过程中,哈贝马斯一方面在韦伯那里汲取了必要的理论资源,另一方面也对阿多诺等人的美学思想给予了批判性的继承。 Through the investigation of aesthetic discourse and its effectiveness, Habermas interprets the aesthetic function of modern art as a compensation mechanism for modern social life. This is not only an amendment to the aesthetic strategy of the first generation of the Frankfurt school’s theoreticians, but also an inevitable result of a holistic reflection on critical theory. In the process, Habermas borrowed the necessary theoretical resources from Weber and, on the other hand, gave a critical inheritance to Adorno’s aesthetic thoughts.