文学艺术场域学术话语的自主、开放、表征与竞争——布尔迪厄的文化场和艺术再生产理论探微

Autonomy,Openness,Representation and Competition of Academic Discourse in the Literary and Artistic Field:Exploration on Pierre Bourdieu's Theory of Cultural Field and Artistic Reproduction

布尔迪厄文化场理论认为,文化生产是资本、习性和场域的交互作用。作为区隔、关系和竞争的社会空间,场域具有能动性、再生产性与动态变迁性。任何特定文化场的生产和再生产,都遵循自主性优先的原则,但这种自主性并非内在本质的,而是历史建构的。特定文化场内的文化实践除了遵循场域自主性之外,又受到更大的权力场域的深刻影响,因而是自律性与他律性的统一。在场域活动中,符号表征发挥着独特的作用,符号表征使得其他各种资本得以合法化和神圣化,因而成为一种符号权力或象征资本。场域行动者之间争夺文化资本的竞争,是推动文化生产和创新发展的动力。布尔迪厄的知识社会学和美学社会学把一部文学史、艺术史和美学史描绘为区隔和竞争的历史,既揭示了文化再生产的奥秘,又消解了传统美学和艺术理论的诗情画意与审美精神。

Pierre Bourdieu＇s theory of cultural field holds that cultural production is the interaction of capital, habit and field. As the social space of distinction, relations and competition, the field is active, reproducible and dynamic. Production and reproduction of any particular cultural field follow the priority of autonomy, but this autonomy is not inherent in nature, but constructed by history. In addition to following the autonomy of field, cultural practice in the given cultural field is deeply influenced by the larger field of pow- er, and thus is the unity of autonomy and heteronomy. In the activities of field, symbolic representation plays a unique role, which makes all other kinds of capital legalized and sanctified, thus becoming a kind of symbolic power or symbolic capital. Competition a- mong field actors for cultural capital is the impetus to promote cultural production and the development of innovation. Bourdieu＇s soci- ology of knowledge and sociology of aesthetics make a description of the history of literature, art and aesthetics as that of distinction and competition, revealing the mysteries of cultural reproduction and deconstructing poetic beauty and aesthetic spirit of traditional aes- thetics and artistic theory.