布迪厄的艺术场理论

发布时间：2018-06-26 05:44

本文选题：艺术场 + 习性　；参考：《山东师范大学》2008年硕士论文

【摘要】： 埃尔·布迪厄(Pierre Bourdieu,1930-2002)是法国当代著名的思想家、社会学家和文艺理论批评家。布迪厄一生著作甚丰,打破了学科的界限,从人类学、社会学和教育学到历史学、语言学、新闻学、政治学、哲学、文学、艺术、美学研究,都有所涉猎。并提出了一系列独到的思想范畴和新颖的学术框架。艺术和美学领域一直是他长期兴趣不衰的关注焦点。布迪厄并没有严密宏大的体系,而是具有强烈的问题意识,跨越多个学科领域,直逼那些被传统学科制度遮蔽的现象和问题。“场域”理论是他的基本理论,在其社会学思想体系中占有重要的地位。艺术场理论认为艺术研究不仅仅要考虑艺术本体、艺术家、接受者因素,还需要考察包括批评家、艺术史学家、出版商、博物馆、画廊、学院、美术协会等所有艺术行动者作为一个艺术整体的艺术场体制。艺术场内部所有行动者相互博弈从而成就了艺术品的价值。这就重现了传统艺术研究忽略的诸多要素。艺术场理论是从社会学角度研究艺术。随着后现代艺术的到来,传统美学相对封闭的格局被打破。在美学标准已经失效的情境下,艺术的社会语境作为一种不容忽视的要素进入艺术理论家的视野。从社会学角度切入对艺术进行研究也是艺术理论的研究趋势。布迪厄的艺术场理论正是在这样一个历史背景下登场了。国内对布迪厄的接受始于九十年代初,研究多集中在社会学、人类学领域。国内对于布迪厄在艺术批评角度的研究较少且不够深入系统。本文共分为五部分。导言部分由《泉》等二十世纪后现代新艺术经典范例的艺术品资格问题引出布迪厄的艺术场理论观照方法,并简要叙述了艺术场理论提出的背景与国内研究现状。第一章简述布迪厄生平及其学术轨迹,梳理其理论的思想渊源并总结布迪厄艺术场理论的研究方法从而窥探其独特的理论视角;第二章通过对布迪厄著作的研读,我们发现场域、习性、资本三个核心概念贯穿于艺术场理论的始终。所以本章相对详尽地阐述了这三个核心概念;第三章通过对艺术场理论的研读,笔者发现方力钧现象正是暗合了这一理论中的“输者为赢”逻辑。本章以方力钧为个案从艺术信仰的生产、艺术场的资格、“输者为赢”的逻辑、艺术场内外的斗争等方面透析了艺术场的结构及运作逻辑。目前见到的关于方力钧的解读大多局限在艺术语言、风格形式和市场对作品意识形态色彩的解读、利用层面,本文尝试从艺术场角度对方力钧这一典型案例进行新的阐释,力求为我们开启看待当代艺术现象的新思路。这是本文的创新点所在,也是本文的重点和难点;第四章理性审视和反观艺术场理论对艺术研究的意义及其理论的盲点。布迪厄从社会学的角度切入艺术,这是他的洞识,可以发现许多被人们忽视的事实。但这也同时构成了他的理论盲点。布迪厄把艺术问题当成社会学问题来对待的倾向容易使人忘记艺术问题本身的意义,它有将艺术祛魅为商品,否定艺术家主体性、创造性的局限。本文试图从艺术理论与批评的角度研究“艺术场”理论,以期对探讨和研究当代艺术有所裨益,并且对阐释当下纷繁复杂激变不已的艺术现象提供一个新视角的解读。
[Abstract]:El Bourdieu (Pierre Bourdieu, 1930-2002) is a famous contemporary thinker of France, sociologist and literary theory critic. Bourdieu's life works very well, breaking the boundaries of discipline, from anthropology, sociology and education to history, linguistics, journalism, politics, philosophy, literature, art, and aesthetic research. A series of unique ideological categories and new academic frameworks have been put forward. The field of art and aesthetics has always been the focus of his long-term interest. Bourdieu has not a strict system, but has a strong sense of problem, across many disciplines, and forced the phenomena and problems that are obscured by the system of the interdisciplinary system. Theory is his basic theory and occupies an important position in his sociological ideology. Art field theory holds that art research should not only consider the art noumenon, the artist, the acceptor, but also all the art actors including critics, art historians, publishers, museums, galleries, colleges, art associations and so on. The artistic field system of the whole art. All the actors in the art field game each other to achieve the value of the art. This reproduces the many elements that the traditional art research ignores.
Art field theory studies art from the perspective of sociology. With the arrival of post-modern art, the relatively closed pattern of traditional aesthetics has been broken. In the context of the failure of aesthetic standards, the social context of art enters the field of art theorist's vision as a key element that can not be ignored. From the sociological point of view, the study of art is also a study. The trend of the study of art theory. Bourdieu's art field theory came into play under such a historical background. The domestic acceptance of Bourdieu began in the early 90s, and the research focused on Sociology and anthropology. The domestic research on Bourdieu's angle of art criticism is less and less systematic.
This article is divided into five parts. The introduction part from "spring >" and other classic examples of the modern art of new art after the twentieth Century, leads to Bourdieu's art field theory view method, and briefly describes the background of the art field theory and the status of domestic research. Chapter 1 briefly describes Bourdieu's life and its academic track and combs its theory. The thought origins and summarizes the Bourdieu art field theory research method thus peep its unique theoretical perspective; the second chapter through the study of Bourdieu's works, we find that the field, the habit, the capital three core concepts run through the art field theory all the time. Therefore, this chapter expounds the three core concepts in a relatively detailed way; the third chapter passes through. In the study of the theory of the art field, the author finds that the Fang Lijun phenomenon is exactly the combination of the logic of "losing the loser" in this theory. This chapter takes Fang Lijun as a case to analyze the structure and operation logic of the art field from the production of artistic belief, the qualification of the art field, the logic of "winning the loser", and the struggle between the inside and outside of the art field. Most of the interpretation of Fang Lijun is limited to artistic language, style and market to interpret the ideological color of the works. At the level of use, this article tries to make a new interpretation of Fang Lijun's typical case from the angle of the art field, and strive to open a new way of thinking for us to look at the contemporary art phenomenon. This is the innovation of this article. It is also the key and difficult point of this article; the fourth chapter rationally examines and looks back on the meaning of art research and the blind spot of the theory of art field. Bourdieu cut into art from the angle of sociology. This is his cave knowledge, which can be found many neglected facts. But this also constitutes his theoretical blind spot. Bourdieu is the art problem. The tendency to treat the problem of sociology is easy to forget the meaning of the art problem itself. It has the limitation of disenchanting art as a commodity, denying the subjectivity of the artist, and creativity.
This paper tries to study the theory of "art field" from the angle of art theory and criticism, in order to benefit the exploration and study of contemporary art, and to provide a new interpretation of the artistic phenomena that are complicated and complicated at the moment.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J0

【引证文献】