The Study of the History and Method of Sociology of Art

“艺术社会学”的任务是厘清艺术与社会的关系。马克思主义美学为我们提供了一个原始的艺术社会学样本。但要解释艺术与社会关系的动态结构，我们就必须拒绝本土的“反身说”。从这个角度来看，主要的美学争论，例如，恩斯特·布洛赫与乔治·卢卡奇之间关于表现主义的冲突，阿多诺与w·本雅明关于大众文化的争论，构成了现代美学信件中最具启发性的情节。通过对这场争论中的许多问题的进一步考察，我们可以得到艺术社会学的方法论基础和许多基本概念。对阿多诺来说，最重要的是非同一性逻辑和模仿概念之间的关系。他对大众文化的激进批判正是基于这一立场。这为我们提供了艺术批判社会学的可能性。与我们的主题相关的当代形势的最后一个方面与哈贝马斯的交际转向有关，这一转向发生在法兰克福学派内部。但它留给了我们未来的任务。

The task of "Sociology of Art" is the clarification of the relation between Art and Society. Marxist aesthetics give us an original sample of the Sociology of Art. But in order to explain the dynamic structure of the relation between Art and Society, we should refuse the native "Reflexion theory" . In this point of view the major aesthetic debate, for example, the conflict between Ernst Broch and Georg Lukacs over expressionism and the controversy Adorno's with W. Benjamin over mass-culture, forms the most revealing episodes in modern aesthetic letters. By the further examination of many issues in this debate, we can get the methodological foundation and many basic conceptions of sociology of art. Above all important for Adorno was the relation of the logic of not-identity and the conception of mimesis. His radical criticism against mass-culture is based on this standpoint. It suggests us the possibility of critical sociology of art. The final aspect of the contemporary situation relevant to our subject has to do with Habermas's communicative turn that has taken place within Frankfurt school itself. But it made to stay in future as our task.