权力与时尚再生产 布迪厄文化消费理论再考察

Power and Fashion Reproduction:A Review of Bourdieu's Cultural Consumption Theory

本文从权力与权力关系的角度出发,对布迪厄文化消费理论的核心之一——时尚再生产理论进行考察。该理论基于以下两大主张:(1)时尚是生产场域与消费场域这两个相互独立的场域共同"协作"的结果;(2)权力关系贯穿于时尚与流行再生产的每一个环节。布迪厄指出,不论是生产场域还是消费场域都是斗争的场所,行动者在此为争夺合法性与卓越化而展开激烈的竞争。一方面,时尚生产场域具有相对自主性,权力斗争并不直接表现为阶级或阶层间的对立,并以迂回的方式参加社会权力的合法化和再生产斗争。另一方面,消费场域即指阶级场域或支配阶级场域。消费者在该场域中进行着无休止的分类斗争(阶级斗争)。权力关系直接反映了阶级关系。而且只有支配阶级才有权参加时尚与流行的再生产,中下阶层是无法加入此类卓越化游戏的,他们至多只能作为反衬而存在。反映统治阶级合法品味的时尚被广泛用来对下层阶级实施符号暴力。

This paper discusses in great detail from the perspective of power and power relations about the fashion reproduction theory-one of the cores in Bourdieu＇s cultural consumption theory. The fashion reproduction theory is based on Bourdieu＇s political science concerning symbolic power. The political science of symbolic power insists that we combine the power struggle with the social field structure and its operational mechanism when we think holistically. Bourdieu argues that modern society is highly differentiated, consisting of a large number of fields full of power struggles. Fields adjust, evolve, or reconstruct in response to the changes in the power balance between classes. Bourdieu＇ s fashion reproduction theory is based on the following two claims： 1, Fashion is the result of the common ＂collaboration＂ between the two independent fields： the production field and the consumption field; 2, Power relations exist throughout every aspect of fashion reproduction. Clearly, Bourdieu＇ s theory of fashion reproduction is consistent with his position over the past years. In his view, whether the production field or the consumption field, each is a battlefield where all participants will engage in fierce competition for legitimacy and distinction. The field of fashion production, with its relative autonomy, is not a place for power struggle to be explicitly expressed as inter-class antagonism but to function in an implicit way. In this, the competition usually occurs between the dominating senior designers and the dominated cutting-edge designers. The two camps produce fashion through distinguishing traditional from modern, high-priced tags from low-priced tags, conventional from avant-garde, etc. But it must be noted that the autonomy of the fashion production field is a relative term; it is inevitably influenced by the power field. Likewise, the power relations in the production field are rooted in the social hierarchy. Fashion producers participate in a roundabout way to legitimize and to engage in the struggle for reproduction. On the other hand, the consumption field refers to the class field or the dominant class field. Here, consumers take part in an endless struggle of classification （class struggle）. Power relations directly reflect class relations. And only the dominant class has the right to participate in the reproduction of fashion and vogue. The middle and lower classes are not able to join in such a distinctive game; they are present at most only as a contrast. Fashion, as an expression of the legitimate taste of the ruling class, has been widely used as the implementation of symbolic violence over the lower classes. Bourdieu＇ s cultural consumption theory provides us with a unique perspective to comprehensively understand the consuming phenomenon and its characteristics in the era with the rich-poor divide.