将审美带回艺术社会学——新艺术社会学理论范式探析

Bring the Aesthetics Back to Sociology of Arts——The New Sociology of Arts and Its Paradigm

近期,在西方兴起了新艺术社会学。与霍华德·贝克尔、皮埃尔·布迪厄等学者的艺术社会学不同,它将审美重新纳入了研究核心,将艺术社会学关注的"人与人的互动"扩展到"人与物的互动"。这在提亚·德诺拉和安托万·亨尼恩的音乐社会学中得到了较好体现。德诺拉提出了"回到阿多诺"的主张,但这只是对其审美关切的主题回归,在研究方法上,她还是沿用了贝克尔等学者的经验研究方法。她认为,音乐的力量来自听众与音乐之间的互动。亨尼恩认为,趣味不是一种标示社会地位的工具,它是一种反身性的活动,主体在与客体的亲附关系中生成自身。这与当前"审美论回归"的思潮一致,对中国语境下的艺术研究具有独特而重要的参考意义。

The new sociology of arts is on the rise in recent years.It is different from Howard S.Becker s and Pierre Bourdieu s sociology of art in the sense that it brings the aesthetics back to its central concerns.It has changed the focus of the sociology of arts,which was on the interaction between people and people,to the focus on the interaction between people and things.The sociology of music of Tia DeNora and Antoine Hennion were two examples of this trend.Tia DeNora claimed that we should return to Adorno,which means we should return to his concerns about aesthetics.But she still followed Howard Becker s empirical studies in research methods.She argued that the power of music came from the interaction between listener and music.Antoine Hennion suggested that taste was not a tool to symbolize the social status but a reflexive activity,and the subject produced himself in the attachment with the object.This is in consistent with the trend of“the return of the theory of aesthetics”and has important reference significance for the study of arts in China today.