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布迪厄在《区隔》一书中强调,由于有着相似收入的人往往有着不同甚至截然相反的生活方式,因此造成一个特定社会阶级间区隔的重要因素常常并不在于个体所占有的经济资本,而在于他所拥有的文化资本。不同的文化资本决定了不同阶层的欣赏趣味或是品味,审美差异揭示社会空间内群体不同的位置。因此布迪厄说,你拥有多少经济财富,并不代表你在社会上的地位,你对合法文化亦即高雅文化作品的鉴赏能力,才是你阶级地位的最佳说明。他的理论很好地揭示了追求品位的人与暴发户之间的距离,也就是与处于上升阶段并急于证明自身社会地位的中国新中产阶层区别的有力说明。但布迪厄的研究是以20世纪60年代的资料为基础对精英文化十分推崇的法国社会阶层做出的分析。布迪厄也并不讳言自身存在的“贵族”倾向,因此他的理论也带有一定的偏颇,在辨证地看待布迪厄区隔理论的基础上分析我国文化艺术发展的现状,探讨在社会资源不平等的中国当下受众艺术欣赏的不平等问题。
Bourdieu emphasized in his book The Separation that because people with similar income tend to have different or even opposite lifestyles, the important factor that sets the gap between a particular social class is often not the individual’s share of the economy Capital, but rather the cultural capital he has. Different cultural capital determines the taste or taste of different classes of appreciation, aesthetic differences reveal social groups within the different locations. Therefore, Bourdieu said that how much your economic wealth possesses does not represent your standing in the community. Your ability to appreciate legal cultures, that is, elegant cultural works, is the best illustration of your class status. His theory reveals very well the distance between the pursuit of taste and the upstart, that is, the difference between China and the new middle class in China who are on the rise and eager to prove their social status. But Bourdieu’s analysis was based on an analysis of the French social class highly esteemed by elite culture based on the material of the 1960s. Bourdieu also does not deny that there exists “noble” tendencies in his existence. Therefore, his theory is also biased to analyze the current situation of the development of Chinese culture and art on the basis of dialectical consideration of Bourdieu’s theory of divisions Unequal issues of appreciation for the audience’s art in China, where social resources are not equal.