단토 대 부르디외 : ‘예술계’(artworld) 개념에 대한 두 개의 시선
Danto vs. Bourdieu: Two Different Gazes on "Artworld"
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연구자는 논문에서 매우 제한적이나마, 단토의 예술계 개념의 예술철학적, 사회학적 논의의 궤적을 비판적으로 검토해 보고자 한다. 연구자는 예술계 개념이 예술적 현상과 실천에 관한 논의를 예술적 본질론의 한계 밖으로 확장시키는 계기를 제공했다는 점에 관해 동의함에도 불구하고, 현재의 논의가 여전히 그 개념의 함의를 충분히 실현하고 있는지에 대해서만큼은 회의적 입장에 있다. 이 회의는 연구자만의 것이 아니라, 예술계 개념이 논의되는 예술철학과 사회학의 지평에서 확인되는 극명한 대립에서 확인된다. 예술계 개념은 본질적으로 예술철학의 대상으로 다루어지는 인식의 해석학적 전제로서의 비실체적인 요소와, 사회학적 지평에서 평가되어야 할 제도적 장치들의 사회학적 요소를 사이의 찢어 낼 수 없는 결합으로 구성된다. 이러한 예술계 개념의 복합적 구성은 단토와 디키, 그리고 베커를 중심으로, 예술철학과 사회학 사이에 놓인 배타적 경계 이편과 저편에서 파편적으로 논의될 뿐이다. 이러한 상황에서 예술계 개념은 그것의 미학적, 사회학적 가능성을 충분히 실현하지 못한 채 모호한 상태로 남아 있다. 연구자는 본 논문에서 부르디외의 사회이론의 핵심적 개념인 아비투스와 장을 도입하여, 단토에 대한 부르디외적 재해석을 시도한다. 부트디외는, 단토를 직접 언급하면서, 예술계 개념을 ‘두 역사의 일치’ 효과로 볼 것을 제안한다. 여기서 두 역사란, 예술적 실천의 역사, 그리고 그러한 예술적 실천과 맞물리는 사회적 조건의 역사를 말한다. 아비투스가 예술적 실천의 체화된 성향이라면, 장은 그러한 예술적 아비투스가 가능한 객관적 조건이라 할 수 있다. 결국, 부르디외적 관점에서, 예술계 개념은 예술작품을 규정하는 특정한 역사/사회적 국면에서 나타나는 아비투스와 장 사이의 일치효과라는 것이다.
Abstract
In this paper, I will explore the sociological possibility of the concept "artworld". I will argue that this concept was initially suggested by art philosopher Arthur C. Danta, but should be regarded as sociological one. Artworld goes beyond all kinds of artistic essentialism which emphasize "media in itself"(Clement Greenberg), "general style"(Heinrich Wölfflin), or "genius" who is representative of "God"(Giorgio Vassari). It is true that Danto provided the proper conceptual tool that could explain and understand radically experimental attempts of contemporary art. But Danto, and his fellow art philosopher George Dickie who elaborated the concept in the form of "institutional approach of art" couldn"t do justice to the sociological character of this concept. They place limit upon the concept mainly to the hermeneutic area of recognition and appreciation of art. They devoted themselves to the mission of art philosophy, but their devotion only to fail to fullfill the whole possiblilities ot the concept "artworld", because the rest halves of the concept doesn"t reveal itself through their perspective of art philosophy. On the other hand, Howard S. Becker, the sociologist, doesn"t agree with his fellow art philosoper who use the concept together with him. To Becker, the concept "artworld" is the social convention and pressure that restrict the practice of artist. It is far more subtantial condition that enables the artistic institution to operate. Therefore, at least in my opinion, the concept "artwortd" has been in antagonistic and contradictory situation between art philosophy and sociology. In this situation, this concept that is not only aesthetical but also sociological can neither be sociological nor aesthetical, unfortunately. In this context, I pay attention to Pierre Bourdieu"s social theory. Boudieu"s concepts like "habitus" and "field" give so much benefit to synthesizing the irreconcilable characters between sociological and philosophical perspectives to the concept "artworld". In criticizing Dante"s approach, Bourdieu suggests that this concept should be regarded as concrete effect of coincidence of two histories, one is a history of habitus, the other is a history of field. Bourdieu defines Dante"s interpretation of artworld as embodied understanding, namely habitus. And also he put this artworld as habitus on the obective condition of producing such em bodied artistic meaning in particular way. Bourdieu attempts to reorganize the aesthetical and sociological character of the concept in terms of relation of habitus and field. In doing so, Bourdieu"s reinterpretation of Dante"s concept of "artworld" makes contritribution to present situation of debate on the concept.
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