The Eyes of the Beholder: Aesthetic Preferences and the Remaking of Cultural Capital
The Eyes of the Beholder: Aesthetic Preferences and the Remaking of Cultural Capital
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DOI：
10.1177/0038038513477935
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发表时间：
2014-02-01
影响因子：
2.9
通讯作者：
Savage, Mike
中科院分区：
文献类型：
--
作者：
Hanquinet, Laurie;Roose, Henk;Savage, Mike
布迪厄的区分（1984）在社会学关于文化不平等的辩论中具有很大的影响力，但很少被认为是美学理论。在这篇文章中，我们将从经验上探讨布迪厄美学的现代主义框架在当代美学变革的背景下如何需要重新思考。在比利时根特的博物馆参观者的调查（n = 1195），我们使用多重对应分析来分析什么审美维度是重要的，当人们考虑的艺术作品。我们发现，熟悉的布迪厄之间的流行（基于美与和谐）和高雅美学的对立仍然很重要。但是，高雅美学的内容已经发生了变化，从现代主义向后现代主义的维度发展。我们还可以发现另一个维度，即与艺术与社会关注的分离相比，它更倾向于社会自反的艺术，而这在布迪厄的叙述中是没有得到承认的。
Bourdieu's Distinction (1984) has been highly influential in sociological debates regarding cultural inequality, but it has rarely been considered a theory of aesthetics. In this article we explore empirically how the modernist framing of Bourdieu's aesthetics needs to be rethought in the context of contemporary aesthetic change. Drawing on a survey of museum visitors in Ghent, Belgium (n = 1195), we use Multiple Correspondence Analysis to analyse what aesthetic dimensions are important when people contemplate works of art. We find that the familiar Bourdieusian opposition between popular (based on beauty and harmony) and highbrow aesthetics is still important. However, the content of highbrow aesthetics has changed, now privileging postmodernist' dimensions over modernist ones. We can also detect another dimension that favours a socially reflexive art compared to a detachment of art from social preoccupations, which is not recognized in Bourdieu's account.