文化社会学视角下的艺术体制理论

On the Institutional Theory of Art from the Perspective of Cultural Sociology

艺术体制问题发源于二十世纪下半叶分析美学阵营关于艺术定义的论争。丹托和迪基的"艺术界"和"艺术惯例"论显示了美学讨论从"本质属性"向"关系属性"的转向,呈现出一定的社会学特征。之后社会学家贝克和布迪厄则在此基础上,通过从合作和冲突的维度分析艺术体制的结构性规则,使当代美学跳出了传统艺术哲学的封闭性思路,对美学和社会学学科之间的融合和互补作出了有意义的贡献。

The institutional theory of art originates from the analytical aestheticians＇ debates on the definition of art. The discus- sions round Arthur Danto＇ s ＂artworld＂ and George Dickie＇ s ＂institutional theory of art＂ signalize a transition of focus from the ＂essential property＂ to the ＂relational property＂ in aesthetics and shows some sociologically oriented features. Sociologists such as Howard Becker and Pierre Bourdieu proceed to examine the structural rules of art institutions from the perspective of coopera- tion and conflict, which breaks the boundaries of the traditional philosophy of art and has made significant contribution to the in- terdisciplinary integration and complementation between contemporary aesthetics and sociology.