미술관 학습자연구에 대한 문화사회학적 논의 - P. Bourdieu 이론을 중심으로

A cultural sociological Discussion on Study of Learners in Art Museums: Focusing on P. Bourdieu"s Theory

  Bourdieu는 그의 저서에서 예술연구에 대해 사회적 철학적 접근을 ‘사회학을 반영하는 초대’라고 부르며 예술가들, 작가들, 큐레이터와 갤러리 소유자에 대한 분석을 했고 ‘Art’가 무엇인지 서술하고 있다. 그는 정책가들, 관리자들, 미술관과 국가 갤러리들이 그들의 개인적이고 결합된 실행이 어떻게 그들을 지배하는 ‘법칙’이라는 용어로 이해되는지 보여준다. 또한 그는 ‘예술’과 그것을 지지하는 철학의 주제를 가져다주는 실행 이론에 대해 많이 말하고 있다. 본 논문은 이러한 Bourdieu의 이론을 면밀히 분석하여 미술관 교육에 던지는 시사점을 보여주고자 한다.

  It was not by chance that Bourdieu targeted education for his studies. In a climate of post-war renewal, education was seen as a principal means by which the new world would be built, and so it proved in many respects. In these works, Bourdieu offers a kind of social anthropology of the French education system, employing a range of statistics and ethnography data to elucidate its underlying generating structures. Education is not content-free, however, and we see that Bourdieu takes a particular interest in culture from the earliest works. In 1966, L"Amour de l"art, which dealt with the museum and gallery visiting habits of the French. This work grew out of his education studies, especially the cultural practice of students-tastes in music, art and literature, for example. The cultural stand of his research continued to develop over a number of years and finally culminated in the publication of La Distinction(1979). In this book, Bourdieu offers a sociological analysis of taste and, by implication, aesthetics. It shows that cultural practice and consumption must be understood in terms of social differentiation across the class structure. Briefly, that we behave culturally according to socially formed dispositions which are acted out whenever we engage in diverse areas of culture. It is clear that Bourdieu is not interested simply in the topic of Flaubert in itself, but rather what his case illustrates and illustrates about artists and artistic practice in general. Thus, this study is offered proposals for an account of how the artistic market operates. This involves elucidation of methodological tools and the general character of artistic fields. The discussion is illustrated with copious examples from a wide range of cultural practice, including journalism. what emerges is a field analysis of the way artists, writers, curators and gallery owners are mutually engaged in a symbiotic practice, the totality of which is "art". The state-politicians, ministers, museums and national galleries-is never far away. Bourdieu shows how their individual and combined practice needs to be understood in terms of the "rules" which govern them. What we need to comprehend as part of this engagement is what we understand by the term "rules". Hence, there is much to say about the theory of practice which is brought to bear on the topic of "art" and the philosophical approach to studying art implies that we appoy the same method to both researcher and the researched as part of what he calls an "invitation to reflexive sociology".