布尔迪厄的“三位一体”——福楼拜、波德莱尔与马奈在布尔迪厄文论中的范式协同和互补作用  

Bourdieu’s “Trinity”: Paradigmatic Synergy and Complementarity of Flaubert,Baudelaire and Manet in Bourdieu’s Sociology of Literature

作　　者：刘晖[1] LIU Hui

机构地区：[1]中国社会科学院外国文学研究所

出　　处：《国外文学》2019年第2期1-10,156,共11页Foreign Literatures

摘　　要：布尔迪厄以福楼拜、波德莱尔和马奈为个案研究对象,阐明他们如何推动了19世纪下半叶法国文学场和艺术场的自主并创立了"艺术的法则"。他的范例选择绝非偶然,可能是看到了三个现代派文艺先锋在其文论中起到范式协同和互补的作用。他们创造的现实主义的形式主义是布尔迪厄眼中真正的"介入艺术"。本文试图说明布尔迪厄如何构建来自福楼拜的"无意识诗学"、来自波德莱尔的"作者阅读"和关于马奈的"配置主义美学"并使之一体化,实现文学作品与艺术作品的生产与接受原则的整合。简而言之,分析者要"采用作者的观点",通过社会历史研究重构艺术家的习性。Taking Flaubert,Baudelaire and Manet as objects of a case study,Bourdieu in his sociological works demonstrates how they contributed to the autonomy of the French literary field and artistic field during the second half of the 19th century and created the"law of art".His choice of such models is by no means fortuitous,because the three vanguard modern artists played the role of paradigmatic synergy and complementarity in his sociology of literature.The realistic formalism is Bourdieu’s real"engaged art".The present article analyzes how Bourdieu constructs and unifies the"poetics of unconscious"extracted from Flaubert,the"author’s reading"extracted from Baudelaire and the"dispositionist aesthetics"concerning Manet,thus integrating the principle of production with the principle of reception of literary works and artistic works.

关 键 词：“三位一体” “无意识诗学” “作者阅读” “配置主义美学” 习性 

分 类 号：I106[文学—世界文学]