Autonomy and the Birth of the Modern Intellectual in Pierre Bourdieu’s The Rules of Art
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In the later writings of Pierre Bourdieu, a central theme revolves around the role of public intellectuals. These intellectuals are depicted as paradoxical figures, possessing cultural capital and privileges yet susceptible to domination by political and economic forces. In this vein, this paper examines The Rules of Art, Bourdieu’s 1992 study on the literary field, as a critical reflection on the emergence of the modern intellectual. Bourdieu investigates the sociological aspects of literature, using Gustave Flaubert as a lens to explore how critics can objectify their stance in the intellectual field. By critiquing Flaubert’s transcendental observer position, he demystifies the romanticized, free-floating intellectual, aiming to strip away the artist’s absolute freedom. Nevertheless, the paper notes Bourdieu’s nuanced view on autonomy in his work that sometimes contradicts his explicit claims, thus considering his critical analysis of Flaubert and Émile Zola as a dialectical effort to establish a “reflexive autonomy.” It argues that his critique of modern intellectuals is not a destructive restraint on intellectual freedom but a constructive project to secure a firmer base of social and historical knowledge. Bourdieu’s reclamation of autonomy is portrayed as essential for protecting objective truth and maintaining the critical function of intellectuals within the societal framework.
Abstract
In the later writings of Pierre Bourdieu, a central theme revolves around the role of public intellectuals. These intellectuals are depicted as paradoxical figures, possessing cultural capital and privileges yet susceptible to domination by political and economic forces. In this vein, this paper examines The Rules of Art, Bourdieu’s 1992 study on the literary field, as a critical reflection on the emergence of the modern intellectual. Bourdieu investigates the sociological aspects of literature, using Gustave Flaubert as a lens to explore how critics can objectify their stance in the intellectual field. By critiquing Flaubert’s transcendental observer position, he demystifies the romanticized, free-floating intellectual, aiming to strip away the artist’s absolute freedom. Nevertheless, the paper notes Bourdieu’s nuanced view on autonomy in his work that sometimes contradicts his explicit claims, thus considering his critical analysis of Flaubert and Émile Zola as a dialectical effort to establish a “reflexive autonomy.” It argues that his critique of modern intellectuals is not a destructive restraint on intellectual freedom but a constructive project to secure a firmer base of social and historical knowledge. Bourdieu’s reclamation of autonomy is portrayed as essential for protecting objective truth and maintaining the critical function of intellectuals within the societal framework.
참고문헌 (22)
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