The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production
The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production
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社会与审美：后布迪厄文化生产理论
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发表时间：
2010
期刊：
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通讯作者：
Georgina Born
中科院分区：
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作者：
Georgina Born
本文为艺术社会学提出了新的方法论原则，艺术社会学是一个子学科，旨在通过将基础从艺术转移到文化生产来拓宽概念。这种转变表明了克服艺术社会学与相邻领域的界限的效用，参考人类学、文化和媒体研究、艺术和文化史以及音乐学科来扩充社会学的全部内容。同时，文章提出，文化生产的解释性理论需要对五个关键主题进行重新发明：美学和文化对象；代理性和主观性；机构所在地；历史、暂时性和变化；以及价值观和判断力的问题。文章的前半部分通过对布迪厄的持续批评来探讨这些问题。它通过对当代人类学的生成研究的阐述，包括阿尔弗雷德·盖尔、克里斯托弗·平尼、弗雷德·迈尔斯等人的工作，强调了对中介、本体论、物质性和流派的分析。下半部分进一步发展了对中介和时间性的分析，通过对文化生产的两个机构民族志（巴黎计算机音乐学院 IRCAM 和 BBC）的讨论来举例说明并扩展了五个主题。在追求这一计划的过程中，本文提倡一种关于理论模型和实证研究之间关系的新颖概念，可以被称为后实证主义经验主义，同时也表明概述的框架为丰富的文化批评提供了基础。
This article sets out new methodological principles for the sociology of art, a sub-discipline that it seeks to broaden conceptually by shifting the ground from art to cultural production. This shift suggests the utility of overcoming the boundaries that demarcate the sociology of art from adjacent fields, augmenting the sociological repertoire with reference to anthropology, cultural and media studies, art and cultural history, and the music disciplines. At the same time the article proposes that an explanatory theory of cultural production requires reinvention in relation to five key themes: aesthetics and the cultural object; agency and subjectivity; the place of institutions; history, temporality and change; and problems of value and judgement. The first half of the article approaches these issues through a sustained critique of Bourdieu. It proceeds through an exposition of generative research from contemporary anthropology, including the work of Alfred Gell, Christopher Pinney, Fred Myers and others, which highlights the analysis of mediation, ontology, materiality and genre. The second half develops fur ther an analytics of mediation and of temporalities, exemplifying this and expanding on the five themes through a discussion of two institutional ethnographies of cultural production (of the computer music institute IRCAM in Paris, and of the BBC). In pursuing this programme the paper advocates a novel conception of the relation between theoretical model and empirical research, one that might be termed post-positivist empiricism, while also suggesting that the framework outlined offers the basis for an enriched cultural criticism.