艺术研究的社会学转向--论乔治·迪基的艺术体制论

The Sociological Turn of Art Research:On George Dickie's Institutional Theory of Art

乔治·迪基是把社会学的“体制”框架引入艺术界理论的关键人物。受到艺术语境论的启发,他从关系属性和类别意义上重新界定了艺术,凸显了艺术品资格“授予”的价值中空立场和体制性语境。作为一种程序性理论,艺术体制论强调,艺术体制是一种惯例实践,而艺术世界则是一种特定的体制框架。迪基的艺术体制论赋予了艺术定义更多的社会学内涵,进一步推动了艺术研究从艺术哲学向艺术社会学的转向。与阿瑟·丹托的艺术界理论相比,迪基的艺术体制论更重视体制框架对艺术生产、分配与接受的影响,重视艺术世界框架中各成员的文化职能,尤其是艺术家角色、公众角色和辅助人员角色的功能。这些观念促使艺术研究重心从艺术品本体向艺术品资格的迁移。

George Dickie are the key figures in introducing the"institutional"framework of sociology into the theory of art.Inspired by the theory of artistic context,he redefines art in the sense of relation attribute and category,and highlights the value neutral position and institutional context of the status of art.As a procedural theory,the theory of art emphasizes that art institution is a practice,while the artworld is a specific institutional framework.Dickie*s institutional theory of art gives more sociological connotations to the definition of art and further promotes the transition of art research from art philosophy to art sociology.Compared with Arthur Danto's theory of art,Dickie*s institutional theory of art system gives art definition more sociological connotation.This definition pays more attention to the influence of the institutional framework on the production,distribution and acceptance of art,and to the cultural functions of the members of the artworld framework,especially the role of artists,public roles and auxiliary personnel.These ideas further promote the transformation of art research from art ontology to the status of art.