本文選題：藝術(shù)場 + 習性　； 參考：《山東師范大學》2008年碩士論文

【摘要】： 埃爾·布迪厄(Pierre Bourdieu,1930-2002)是法國當代著名的思想家、社會學家和文藝理論批評家。布迪厄一生著作甚豐,打破了學科的界限,從人類學、社會學和教育學到歷史學、語言學、新聞學、政治學、哲學、文學、藝術(shù)、美學研究,都有所涉獵。并提出了一系列獨到的思想范疇和新穎的學術(shù)框架。藝術(shù)和美學領(lǐng)域一直是他長期興趣不衰的關(guān)注焦點。布迪厄并沒有嚴密宏大的體系,而是具有強烈的問題意識,跨越多個學科領(lǐng)域,直逼那些被傳統(tǒng)學科制度遮蔽的現(xiàn)象和問題。“場域”理論是他的基本理論,在其社會學思想體系中占有重要的地位。藝術(shù)場理論認為藝術(shù)研究不僅僅要考慮藝術(shù)本體、藝術(shù)家、接受者因素,還需要考察包括批評家、藝術(shù)史學家、出版商、博物館、畫廊、學院、美術(shù)協(xié)會等所有藝術(shù)行動者作為一個藝術(shù)整體的藝術(shù)場體制。藝術(shù)場內(nèi)部所有行動者相互博弈從而成就了藝術(shù)品的價值。這就重現(xiàn)了傳統(tǒng)藝術(shù)研究忽略的諸多要素。 藝術(shù)場理論是從社會學角度研究藝術(shù)。隨著后現(xiàn)代藝術(shù)的到來,傳統(tǒng)美學相對封閉的格局被打破。在美學標準已經(jīng)失效的情境下,藝術(shù)的社會語境作為一種不容忽視的要素進入藝術(shù)理論家的視野。從社會學角度切入對藝術(shù)進行研究也是藝術(shù)理論的研究趨勢。布迪厄的藝術(shù)場理論正是在這樣一個歷史背景下登場了。國內(nèi)對布迪厄的接受始于九十年代初,研究多集中在社會學、人類學領(lǐng)域。國內(nèi)對于布迪厄在藝術(shù)批評角度的研究較少且不夠深入系統(tǒng)。 本文共分為五部分。導言部分由《泉》等二十世紀后現(xiàn)代新藝術(shù)經(jīng)典范例的藝術(shù)品資格問題引出布迪厄的藝術(shù)場理論觀照方法,并簡要敘述了藝術(shù)場理論提出的背景與國內(nèi)研究現(xiàn)狀。第一章簡述布迪厄生平及其學術(shù)軌跡,梳理其理論的思想淵源并總結(jié)布迪厄藝術(shù)場理論的研究方法從而窺探其獨特的理論視角;第二章通過對布迪厄著作的研讀,我們發(fā)現(xiàn)場域、習性、資本三個核心概念貫穿于藝術(shù)場理論的始終。所以本章相對詳盡地闡述了這三個核心概念;第三章通過對藝術(shù)場理論的研讀,筆者發(fā)現(xiàn)方力鈞現(xiàn)象正是暗合了這一理論中的“輸者為贏”邏輯。本章以方力鈞為個案從藝術(shù)信仰的生產(chǎn)、藝術(shù)場的資格、“輸者為贏”的邏輯、藝術(shù)場內(nèi)外的斗爭等方面透析了藝術(shù)場的結(jié)構(gòu)及運作邏輯。目前見到的關(guān)于方力鈞的解讀大多局限在藝術(shù)語言、風格形式和市場對作品意識形態(tài)色彩的解讀、利用層面,本文嘗試從藝術(shù)場角度對方力鈞這一典型案例進行新的闡釋,力求為我們開啟看待當代藝術(shù)現(xiàn)象的新思路。這是本文的創(chuàng)新點所在,也是本文的重點和難點;第四章理性審視和反觀藝術(shù)場理論對藝術(shù)研究的意義及其理論的盲點。布迪厄從社會學的角度切入藝術(shù),這是他的洞識,可以發(fā)現(xiàn)許多被人們忽視的事實。但這也同時構(gòu)成了他的理論盲點。布迪厄把藝術(shù)問題當成社會學問題來對待的傾向容易使人忘記藝術(shù)問題本身的意義,它有將藝術(shù)祛魅為商品,否定藝術(shù)家主體性、創(chuàng)造性的局限。 本文試圖從藝術(shù)理論與批評的角度研究“藝術(shù)場”理論,以期對探討和研究當代藝術(shù)有所裨益,并且對闡釋當下紛繁復(fù)雜激變不已的藝術(shù)現(xiàn)象提供一個新視角的解讀。
[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.
【學位授予單位】：山東師范大學
【學位級別】：碩士
【學位授予年份】：2008
【分類號】：J0

【引證文獻】

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1 孫梅戈;;布迪厄社會學中的純美學與藝術(shù)場域——讀《純美學的歷史起源》[J];大眾文藝;2011年19期

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1 李占偉;布爾迪厄文藝思想研究[D];山東師范大學;2011年

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1 王威;場域視角下的抽象繪畫與具象繪畫[D];遼寧師范大學;2010年

2 范長江;布爾迪厄文學游戲理論初探[D];河北大學;2011年

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4 牛海娜;世紀末的面孔—玩世現(xiàn)實主義形象研究[D];吉林藝術(shù)學院;2011年

5 杜敏;邊界游移：當代“物”向藝術(shù)轉(zhuǎn)化現(xiàn)象研究[D];河南大學;2012年

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本文編號：2069371