布尔迪厄对文学艺术的“祛魅”——以“审美趣味”(tɑste)和“文化生产者”(producer)为例

Pierre Bourdieu's Theory on Disenchantment of Literature and Art——Illustrated by Examples of “Taste” and “Producer”

布尔迪厄从自己独具特色的社会学研究出发,对传统文学艺术进行了一次"祛魅"。他打破了康德的普遍性的审美幻像,展示了"审美趣味"(tɑste)的历史生成特征和"社会区隔"的功能,引入"习性"概念,阐明了"合法性趣味"(legitimate ɑesthetics)与"纯粹审美趣味"(pure tɑste)的真实涵义,完成了对康德式"审美趣味"的颠覆。通过对文学艺术场的阐释,他打破了对于传统"创作者"的迷信,将艺术家还原为只是场中从事生产和再生产的生产者。在他的"纯粹凝视"(pure gɑze)观念的考察中,我们可以发现他在文学自律性这个问题上带有某种程度的反思性与批判性的回归。

From his characteristic sociological perspective, traditional literature and art were disenchanted in Pierre Bourdier＇s theories. By presenting the notion of ＂taste＂ and illustrating its historical formative characters as well as its function known as ＂distinction＂, he came up with the notion of ＂habitus＂, explained the meanings of ＂legitimate aesthetics＂ and ＂pure taste＂, thus overturned Kant＇s critique of judgment. By illustrating the field of literature and art, Bourdier broke up the enchantment of traditional author as ＂creator＂, maintaining that artists are merely producers. However, critical and reflective regression towards autonomy of literature can be found in the study of his ＂pure gaze＂ theory.