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与马克思主义和西方马克思主义探讨艺术生产的路径不同,美国当代著名社会学家霍华德·贝克运用工作社会学、符号交互论与实证方法,聚焦于艺术生产内在的组织结构和动态的运作机制,将其视为集体行动的结果。他既揭示了合作与艺术常规作为生产体制所具有的效力和限度,又强调了艺术生产中的交互性,形成了极富张力和可能性的艺术生产论。这不仅反拨了浪漫主义“天才论”的神话和将艺术生产简化为艺术创作的逻辑,而且淡化了艺术生产的意识形态性与审美性而强化了其协作性与组织性,展现了当代艺术生产的实际面貌,对于其他形式的文化生产也具有相当的阐释效力。贝克对艺术生产的探讨旨在提出一个分析社会组织结构的具有普适性的路径,这就为艺术学与社会学的跨学科交融作了积极的尝试。贝克的艺术生产论虽有局限,但这也正蕴含着对其进一步开掘和生发的潜能。
Different from the approaches of Marxism and Western Marxism on artistic production, Howard Baker, the famous contemporary American sociologist, uses the work sociology, symbolic interaction theory and empirical methods to focus on the internal organizational structure and dynamic operating mechanism of art production. It is seen as a result of collective action. He not only reveals the effectiveness and limits of cooperation and art as a production system, but also emphasizes the interactivity in art production and creates a theory of art production with great tension and possibility. This not only reversed the myth of romanticism and “genius theory” and simplified the production of art into the logic of artistic creation, but also reduced the ideological and aesthetic qualities of artistic production and strengthened its cooperation and organization. The actual appearance of contemporary art production also has considerable explanatory power for other forms of cultural production. Baker’s exploration of art production aims to propose a universal path to analyze the structure of social organization, which makes a positive attempt for interdisciplinary integration of art and sociology. Baker’s art production theory has its limitations, but it also implies its potential for further digging and development.