「幻化遊戲」與「懸置遊玩」：論洪席耶對布爾迪厄的批評

＂Illusio Game＂ and ＂Play with Suspension＂: A Comment on Jacques Rancière's Critique of Pierre Bourdieu

廖育正(Yu-Cheng Liao)

《中外文學》 48卷1期 (2019/03) Pp. 127-162

https://doi.org/10.6637/CWLQ.201903_48(1).0004

摘要

布爾迪厄對康德的美學進行了「通俗批判」，他以社會學方法駁斥了無關乎利害等美學思想，主張品味的形塑與社會的構成有高度關係，而個體透過「幻化－遊戲感」在社會場域中實踐。但在洪席耶看來，布爾迪厄的理論將主體的品味與自主性限縮在社會框架裡，忽視了人在事物前得以「懸置」，在「警治」內得以「政治」的「自由遊玩」的美學可能性。兩人看法的差異，涉及結構觀點與行動視角的多重辯證，也有哲學美學與社會學美學不同側重的角力。本文試圖釐清兩者的主張，並透過「幻化遊戲」及「懸置遊玩」這組概念，與三種層次的自主性去解釋他們進路的差異。

關鍵字

洪席耶 ； 布爾迪厄 ； 康德 ； 美學 ； 遊戲 ； 遊玩

並列摘要

Pierre Bourdieu takes a ＂vulgar＂ position to criticize Immanuel Kant's aesthetics. Bourdieu refutes Kant's philosophical concept of ＂disinterestedness,＂ and insists that taste is highly related to social construction and formation. Bourdieu also claims that subjectivity is realized through games of ＂illusio.＂ However, Jacques Ranciere argues that Bourdieu restricts the subject's taste and autonomy inside the social frame and overlooks the possibility of ＂free play＂ and ＂suspension＂ within ＂the police order.＂ The two academics' debate is a dialectic between contrasting perspectives of structure and agency. This article attempts to unravel these two perspectives with the concepts of ＂illusio game,＂ ＂play with suspension,＂ and the three distinct levels of autonomy.

並列關鍵字

Jacques Ranciere ； Pierre Bourdieu ； Immanuel Kant ； aesthetics ； game ； play

參考文獻

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