在當代哲學中，自我可視同一件藝術作品般來進行創作的材質。因此，「何謂藝術作品」成為必須重新反省的問題。切入此問題的一種方式在於連接法國哲學家傅柯的修養論與阿多諾美學理論，即在於傅柯自我創造說與阿多諾藝術作品理論的交錯。本文將藝術作品的過程性格視為一「主體化」的過程，故認為美學理論應能提供一種反省美學修養的哲學角度。 　　阿多諾的文化分析同時由兩種方向進行：一則是針對精神文化、精英文化、雅文化的面向；另則是針對物質文化、大眾文化、俗文化的面向。兩者構成批判美學的雙重方向。阿多諾對文化工業的批判，便從精神文化與物質文化、理性與感性、精神與衝動的平等辯證出發。就自我修養而言，此辯證法乃有助於展開美學修養的雙重性格之構想，即「向上修養」與「向下修養」的交互關係、昇華與去昇華的雙重過程。

　　　　　Contemporary philosophy knows the tendency to regard the self as something which can be created like a work of art. This idea makes it necessary to reconsider the concept of the artwork. One possible way of doing this is to interconnect Michel Foucault’s theory of self-cultivation and Adorno's aesthetic theory, Foucault's concept of self-creation and Adorno's concept of the artwork. This paper tries to interpret the process character of the artwork as a process of “subjectivation”, and thus to broaden the philosophical perspective for reflections on the notion of aesthetic cultivation. Adorno analyzes the critique of culture from two different angles: from the critique of spiritual, elite or high culture and from the critique of material, mass or low culture. Those two critical angles constitute the double direction of his critical aesthetics. Adorno's critique of culture industry is based on the idea of an egalitarian dialectics between spiritual and material culture, reason and sensibility, mind and impulse. This paper interprets Adorno's dialectics as a starting point to further develop the double character of aesthetic cultivation as a twofold process of both ascending and descending cultivation, sublimation and desublimation.