文学艺术场域学术话语的自主、开放、表征与竞争——布尔迪厄的文化场和艺术再生产理论探微
发布时间：2018-08-12 11:25
【摘要】：布尔迪厄文化场理论认为,文化生产是资本、习性和场域的交互作用。作为区隔、关系和竞争的社会空间,场域具有能动性、再生产性与动态变迁性。任何特定文化场的生产和再生产,都遵循自主性优先的原则,但这种自主性并非内在本质的,而是历史建构的。特定文化场内的文化实践除了遵循场域自主性之外,又受到更大的权力场域的深刻影响,因而是自律性与他律性的统一。在场域活动中,符号表征发挥着独特的作用,符号表征使得其他各种资本得以合法化和神圣化,因而成为一种符号权力或象征资本。场域行动者之间争夺文化资本的竞争,是推动文化生产和创新发展的动力。布尔迪厄的知识社会学和美学社会学把一部文学史、艺术史和美学史描绘为区隔和竞争的历史,既揭示了文化再生产的奥秘,又消解了传统美学和艺术理论的诗情画意与审美精神。
[Abstract]:Bourdieu's cultural field theory holds that cultural production is the interaction of capital, habit and field. As a social space of distinction, relationship and competition, the field is dynamic, reproducible and dynamic. The production and reproduction of any particular cultural field follow the principle of autonomy first, but this autonomy is not intrinsic, but historical construction. The cultural practice in a particular cultural field is not only subject to the autonomy of the field, but also deeply influenced by the field of power, so it is the unity of self-discipline and heteronomy. The symbolic representation plays a unique role in the activities of the field, and the symbolic representation makes the other kinds of capital legalized and sanctified, thus becoming a symbolic power or symbolic capital. Competition for cultural capital among field actors is the driving force to promote cultural production and innovation. Bourdieu's sociology of knowledge and aesthetics depicts a history of literature, art and aesthetics as a history of division and competition, which reveals the mystery of cultural reproduction. It also dispels the poetic and aesthetic spirit of traditional aesthetics and art theory.
【作者单位】： 江西师范大学文艺学中心;
【基金】：笔者承担的江西省社会科学项目“20世纪中外文化诗学流派研究”(12WX06)的阶段性成果
【分类号】：G0;I0
本文编号：2178909
[Abstract]:Bourdieu's cultural field theory holds that cultural production is the interaction of capital, habit and field. As a social space of distinction, relationship and competition, the field is dynamic, reproducible and dynamic. The production and reproduction of any particular cultural field follow the principle of autonomy first, but this autonomy is not intrinsic, but historical construction. The cultural practice in a particular cultural field is not only subject to the autonomy of the field, but also deeply influenced by the field of power, so it is the unity of self-discipline and heteronomy. The symbolic representation plays a unique role in the activities of the field, and the symbolic representation makes the other kinds of capital legalized and sanctified, thus becoming a symbolic power or symbolic capital. Competition for cultural capital among field actors is the driving force to promote cultural production and innovation. Bourdieu's sociology of knowledge and aesthetics depicts a history of literature, art and aesthetics as a history of division and competition, which reveals the mystery of cultural reproduction. It also dispels the poetic and aesthetic spirit of traditional aesthetics and art theory.
【作者单位】： 江西师范大学文艺学中心;
【基金】：笔者承担的江西省社会科学项目“20世纪中外文化诗学流派研究”(12WX06)的阶段性成果
【分类号】：G0;I0
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