Museums and art galleries appear to be and would claim to be open to all, and yet, in fact, they are visited only by a small segment of the population. Who are those whose love of art brings them into museums? What distinguishes them from the majority of people who exclude themselves or who are effectively excluded?
In this classic study, Bourdieu, Darbel and Schnapper...
Museums and art galleries appear to be and would claim to be open to all, and yet, in fact, they are visited only by a small segment of the population. Who are those whose love of art brings them into museums? What distinguishes them from the majority of people who exclude themselves or who are effectively excluded?
In this classic study, Bourdieu, Darbel and Schnapper address such questions on the basis of a wide-ranging survey of museum visitors throughout Europe. By examining the social conditions of museum practices, they show that cultivated taste is not a natural gift but a socially inculcated disposition which is distributed unevenly, and which predisposes some to distinguish themselves through their love of art, while others are deprived of this privilege.
Pierre Bourdieu was Professor of Sociology at the Collège de France.
目录
· · · · · ·
Translators' Note
Preface
1. Signs of the Times
2. The Research Process
3. The Social Conditions of Cultural Practice
4. Cultural Works and Cultivated Disposition
· · · · · ·
(更多)
Translators' Note
Preface
1. Signs of the Times
2. The Research Process
3. The Social Conditions of Cultural Practice
4. Cultural Works and Cultivated Disposition
5. The Rules of Cultural Diffusion
6. Conclusion
Appendices
1. Timetable of Research
2. The Questionnaires and the Sampling Method
3. The Public of French Museums
4. Verificatory Surveys
5. Analysis of 250 Semi-directed Interviews
6. The Public of European Museums
Notes
Selected Bibliography
Index
· · · · · · (收起)
原文摘录
· · · · · ·
The deliberate neglect of the social conditions which make possible culture and culture become nature, a cultivated nature with all the appearances of grace and talent but nevertheless learned and therefore 'deserved', is the condition for the existence of the charismatic ideology, which allows culture and especially 'the love of art' to be given the central place they occupy in the bourgeois 'sociodicy'. The heir of bourgeois privileges, not being able to invoke rights of birth (which his or her class historically denied the aristocracy) or the rights of nature, a weapon in the past levelled against nobiliary distinctions which would runt the risk of backfiring against bourgeois 'distinction', or the ascetic virtues which allowed the first generation of entrepreneurs to justify their succ... (查看原文)
Statistics show that access to cultural works is the privilege of the cultivated class; however, this privilege has all the outward appearances of legitimacy. In fact, only those who exclude themselves are ever excluded. Given that there is nothing more accessible than museums and the economic obstacles that can be seen at work in other spheres count for little here, it seems quite justified to invoke the natural inequality of 'cultural needs'. However, the self-destructive nature of this ideology is obvious. If it is indisputable that our society offers to all the pure possibility of taking advantage of the works on display in museums, it remains the case that only some have the real possibility of doing so. Aspiration to cultural practice varies in the same way that cultural practice doe... (查看原文)
The deliberate neglect of the social conditions which make possible culture and culture become nature, a cultivated nature with all the appearances of grace and talent but nevertheless learned and therefore 'deserved', is the condition for the existence of the charismatic ideology, which allows culture and especially 'the love of art' to be given the central place they occupy in the bourgeois '...(1回应)
The museum presents to all, as a public heritage, the monuments of a past splendour, instruments for the extravagant glorification of the great people of previous times: false generosity, since free entry is also optional entry, reserved for those who, equipped with the ability of appropriate the works of art, have the privilege of making use of this freedom, and who thence find themselves legi...
Statistics show that access to cultural works is the privilege of the cultivated class; however, this privilege has all the outward appearances of legitimacy. In fact, only those who exclude themselves are ever excluded. Given that there is nothing more accessible than museums and the economic obstacles that can be seen at work in other spheres count for little here, it seems quite justified to...
Statistics show that access to cultural works is the privilege of the cultivated class; however, this privilege has all the outward appearances of legitimacy. In fact, only those who exclude themselves are ever excluded. Given that there is nothing more accessible than museums and the economic obstacles that can be seen at work in other spheres count for little here, it seems quite justified to...
The deliberate neglect of the social conditions which make possible culture and culture become nature, a cultivated nature with all the appearances of grace and talent but nevertheless learned and therefore 'deserved', is the condition for the existence of the charismatic ideology, which allows culture and especially 'the love of art' to be given the central place they occupy in the bourgeois '...(1回应)
The museum presents to all, as a public heritage, the monuments of a past splendour, instruments for the extravagant glorification of the great people of previous times: false generosity, since free entry is also optional entry, reserved for those who, equipped with the ability of appropriate the works of art, have the privilege of making use of this freedom, and who thence find themselves legi...
The museum presents to all, as a public heritage, the monuments of a past splendour, instruments for the extravagant glorification of the great people of previous times: false generosity, since free entry is also optional entry, reserved for those who, equipped with the ability of appropriate the works of art, have the privilege of making use of this freedom, and who thence find themselves legi...
The deliberate neglect of the social conditions which make possible culture and culture become nature, a cultivated nature with all the appearances of grace and talent but nevertheless learned and therefore 'deserved', is the condition for the existence of the charismatic ideology, which allows culture and especially 'the love of art' to be given the central place they occupy in the bourgeois '...(1回应)
Statistics show that access to cultural works is the privilege of the cultivated class; however, this privilege has all the outward appearances of legitimacy. In fact, only those who exclude themselves are ever excluded. Given that there is nothing more accessible than museums and the economic obstacles that can be seen at work in other spheres count for little here, it seems quite justified to...
![[法国] 皮埃尔·布迪厄](https://img2.doubanio.com/img/author/medium/public/1495692990.41.jpg)
皮埃尔·布迪厄 作者
8 有用 Adieudusk 2011-04-02 12:21:05
本书是布迪厄和达尔比对法国、西班牙、希腊、波兰、荷兰五国几十家博物馆上万份问卷调查后的分析总结。作者令人震撼的结论是，不管是博物馆还是其他那种公众教育活动，都不能真正做到艺术民主化。艺术民主化的唯一途径是普及延长艺术教育。艺术民主只有长期有效地渗入成为个人的第二自然才有可能实现。书中分析了艺术“贵族性”的根源。作者的悲观相对可以说明欧洲，甚至中国的情况，但北美的情况应该有所区别。欧洲的博物馆始于贵... 本书是布迪厄和达尔比对法国、西班牙、希腊、波兰、荷兰五国几十家博物馆上万份问卷调查后的分析总结。作者令人震撼的结论是，不管是博物馆还是其他那种公众教育活动，都不能真正做到艺术民主化。艺术民主化的唯一途径是普及延长艺术教育。艺术民主只有长期有效地渗入成为个人的第二自然才有可能实现。书中分析了艺术“贵族性”的根源。作者的悲观相对可以说明欧洲，甚至中国的情况，但北美的情况应该有所区别。欧洲的博物馆始于贵族收藏，公共博物馆始于罗浮宫，而北美的博物馆始于“一角钱珍奇馆”，大都会这些都要晚将近一个世纪。平民的需求始终是一个强大的影响。因而北美的博物馆公众化民主化是做的最好的。博物馆在满足艺术“贵族性”之外，如果要诉求亲民、公众化，看来学校教育项目才是关键。推荐给关注艺术教育与博物馆学的，应作基础教材阅读 (展开)
2 有用 单眼猎人 2012-01-13 09:02:24
初读震慑心灵之作。你要再读你要再读。
2 有用 無端 2014-09-12 21:14:50
布尔迪厄(Pierre Bourdieu)指出博物馆“是一种虚假的慷慨,因为自由免费的进入也是一种选择性的进入,预留给了那些有能力欣赏艺术品的人,那些能够享用这种自由的人,而这些人也因此觉得自己合法地享有这些特权,也就是合法地拥有了这些文化商品的所有权,或者用韦伯的话说,就是对文化商品和文化救赎的体制符号的操纵的垄断权。
0 有用 巴尼大仔 2015-06-03 14:11:18
作为一个art lover，接受批判
0 有用 一只大鱼 2022-08-31 01:06:53
犀利直接，有理有据，解释博物馆开放性背后的虚假承诺。进入博物馆是有选择性的，理解博物馆是有文化区隔的，这种区隔又是服务于支配权的等等。量化数据、公式模型样样都有，让我这个统计渣看得头秃。