하우저와 부르디외: 장의 상대점 자율성의 관점에서 반영론의 재해석 = Hauser and Bourdieu: A Reinterpretation of Reflectionism in the light of relative autonomy of Field

다국어 초록 (Multilingual Abstract)

This paper aims to reinterpret the theory of Pierre Bourdieu and Arnold Hauser, and try to find sociological perspective to view the current aspect aspect of art. As we know, sociology has emphasized the relation between art and sociery, which shapes as so called ``reflectionism`` , Reflectionism supposes ``direct`` relation of art and society. Hauser, who was both the art historian and sociologist, clearly recognized the limit of reflctionism. Such direct relation of art and society produces art as either passive mirror of external world or propaganda. Hauser admitted the relation, but developed it to the concept of art as ideology. Here the relation of art and society could be apprehended as broad and compressive one. But, Hauser also could not escape the limit of reflectionism. He didn`t explain the process and mechanism of interwinding of art and society fully. In this context, Bourdieu`s concept of field has very important meaning. Field is the middle space that interacts with outer social space, but accomplishes the relative autonomy. I think we could attain the revised version of the relation art and society fully. In this context, Bourdieu`s concept of field has very important meaning. Field is the middle space that interacts with outer social space, but accomplishes the relative autonomy. I think we could attain the revised version of the relation art and society or the concept of ``refracted reflection`` when we reinterpret the Hauser`s art as ideology in the light of Bourdieu`s field. This revised reflection` when we reinterpret the Hauser`s art as ideology in the light of Bourdieu`s field. This revised reflectionism can not only combine the sociological perspective and accomplishment of Hauser coherently, but also discover the empirical possibility that Bourdieu loses in his abstract theoretical view on art. And I think that these combining and discovering could proceed in the way that both Bourdieu and Hauser complement each other. I wish to examine restrictively such possibility in the Hauser`s description on the situation of French stylistic art world in 17th century. It was such differential situation of stylistic field of French of the time that made the Classicism as officialized style in the heart of the 17th century Europe which Heinrich Wofflin, one of the greatest art historian, defined as typical Baroque period.