哈佛格式模板

For art，for audiences：

How do audiences hide configuring drama and building subjects’ habits

Abstract: Bourdieu's practice theory has been widely accepted by more and more scholars and used in interpreting different social life and inequality phenomena. I also try to show my interpretation and application of the theory with peer scholars, especially discuss Bourdieu's "field, habits,capital" concepts with different specific performance in different countries of Italy and Germany. The structures and changes of human society can be fully reflected from people’s activities in arts(Bourdieu, 1984). In this paper, first take the British Shakespeare drama as an example, with the famous French cultural sociologist Bourdieu view: in the field of cultural production,there is also full of interests (although the interests often exist in the "upside down" economic interests manner) field struggling to explain. Then,elaborating the Bourdieu's view through different styles between Italian audiences and Germany audiences in theaters. The former Italian audiences have clear commercial logic thinking, the latter Germany audiences tend to sacred, pure, and aesthetic logic(Parker, 1994). This paper tries to seek the original differences by means of field cultural production framework of Bourdieu. The two countries’ drama audiences rating occupying is not same, this is closely related to audience's different Opera habits. We found that the two "anonymous" processes -- the audiences change identity from craftsmen to a free artist -- have greatly affected the drama production field grade distribution and exposure the main habit differences. Through the full text analysis, we find that commercial always pushes the evolution and development of drama art. The author further reflects a simple "commercial" art as an opposition to elegant culture, and presents there is no essential distinctions between them. It largely depend on the theory of Bourdieu segmentation plays results. In the era of consumption society, in the field of power for legitimate interest of ruling, class definition will be resisted and hegemony digested more and more, it will be followed by the boundary between elegance and vulgarity tends to blur. We can use Bourdieu's theory to describe the drama field production of these two countries, analysis the two national theaters, the power relations between the reproduction of cultural capital and cultural habits of different subjects, locate the different opera styles.

Concept

First of all, we come to the "field" concept of Bourdieu. Bourdieu defined the "field" as a right which everyone has to free import and open social space. It has the entity, responsibilities, regulations and statutory missions(Elias, 2009). Each of the "field" is relatively independent and has their specific interests and power relations, and illusions. These interests form and illusions are actually recognized by people’s value to battle with each other in the game of target. The point is "field" position in the "rules of the game" by the WHO and how to control operation. The focus "field" internal relation among various kinds of power struggle is for the final legal definitions of power, the final specification for game decision power for the game, decided the winners and losers in power.

Secondly, we see "habit". "Habit" specifically refers to the individual or group behavior and thinking habit, it comes from the specific "field", which is the people abide by the process of the "field" rules of the game gradually cultivate up way of thinking and action in the years(Elias, 2006). Bourdieu took the "correlation between field" and "habit" as the interaction of two ways: a constraint between two aspects, "field" shaped "habit", "habit" was inevitable inherent attributes of a "field" to reflect the product in the body; the other on the one hand, and between the two is a kind of knowledge, "habit" has helped to bring the "field" to construct a world of meaning.

Finally, Bourdieu said the "capital" concept (i.e.: cultural capital, social capital, economic capital, symbolic capital, total capital), the higher capital one has,the higher social status he has.

Drama is a comprehensive art, it includes music, drama, poetry and storage, stage art, dance and other arts, is an ancient and enduring artistic form. It originated from Italy, now has developed the most brilliant art in European countries. But for different countries of the audience, their viewing habits, and cultural level is also completely different. As compared Wine and beer, not only taste and taste different -- whether diet or opera habits, under both non is "can avoid the influence of national character" differences in national character,

apparently not doomed, it gradually formed, and our social science are inseparable"(Benjamin, 2002). Bourdieu in the "field _ habits' 'analysis framework, the national character is also a habit, it formed through internalization mechanism by field shaping, and outside of a close interaction with the field occurs in the process. According to Bourdieu, a generation of viewers as the aesthetic practice of cultural main body of works of art, the so-called habits of their thinking mode of action or a Bourdieu, are in particular culture in the field of form and by constantly internalizing and externalizing to reproduce results(Burke, 2005). In the study of this problem, particular concern is the power relationship between the musicians and their sponsors and spectators.

A typical case study is mentioned above the plays of Shakespeare. As the study of literature in English major, Shakespeare research and British identity construction have closed relation. Traditionally, in the study of English literature, drama and language of Shakespeare have been shown as "the core of the British", they are used to take the establishment of a homogeneous, constant cultural identity and cultural characteristics of the mission(Chen Li, 2009). However, cultural studies does not take Shakespeare's position as behoove. It will ask is: in the Elizabeth era, what is the theater's social status? It will ask further: in sixteenth Century and seventeenth Century, how is the drama to be creative and productive out? There is evidence of the presence of highly: "cooperation" between the playwright and stage adaptation of the play, Shakespeare is on the basis of the requirements in the great writing crew extent, this change as "individual genius" charismatic style Shakespeare idea(Gerhardt, 2009). Shakespeare is present as part of a broader cultural. Therefore, should the history look at Shakespeare, rather than his plays as "permanent" or "immortal"? At the same time, the audience (the audience, the audience in seventeenth Century sixteenth Century and now the audience) problems have been proposed: what play are these players ready for ? How they accepted? Such questions a further challenge to the following concepts: the works of Shakespeare are common, is for everyone, in any time and the performance of the. Research shows, Shakespeare's text has year after year by frequent changes in the past, and it is not a model can not be high(Aojinniao - Garin, 2003). The Shakespeare drama permanent property also poses a challenge. In the cultural researchers said, "while the British" concept itself is

changing, the relationship between the British, and other parts of the world is changing. Shakespeare was regarded as a "national poet" re discovered in eighteenth Century. This study from the study of different versions of the works of Shakespeare, has been extended to the study of Shakespeare's hometown of tourism industry. It also involves the study of the rest of the world out of the production version of the Shakespeare. The results show that: on the one hand, the process of Shakespeare is a British imposed process of cultural significance; on the other hand, the imposition process is not absolute, Everything is going smoothly., without resistance. In fact, Shakespeare in the other parts of the world have always been rewritten and lead to different versions of the "Shakespeare" appeared.(thunder, 2007). "Shakespeare" in the cultural interaction network appear as a complex negotiation process. All of these questions, and the process of the classical classic negotiation process of course had a political enthusiasm, but not completely out of the so-called aesthetic value judgments or literary value judgment, they show: on Shakespeare's interpretation is a question of power. The famous French cultural sociologist Bourdieu thinks: the field of cultural production is also a full of interest (although the interests often to the economic interests of the "upside down" manner) field struggle(Kelly, 2011). In this field, different intellectual grasp varies amounts, and different types of cultural capital occupy different positions in the cultural field. The intellectual culture or art attitude is actually to improve or strengthen their presence in the domain of the position of the strategies adopted by the. In this sense, cultural and intellectual interests are also "political" interests.

In the view of Bourdieu: "those theories and method seems to just make a contribution to the progress of science and the concept, but also always' political 'tricks (maneuvers' political), is trying to establish, strengthen or subvert the symbolic rule established relationship structure political sleight of hand(Allison Cole, 2009). Writers and artists and other intellectuals, is to put yourself in the cultural field in the benefit maximization as the strategist of purpose, they did not not only become a highly integrated class, but also brought serious differentiation in the battle for cultural legitimacy in the struggle.

First, the aesthetic taste, culture capital and segmentation.

One party takes drama as commodity, another party takes drama as art treasure in the palace, this attitude is different, the first was evident in the different aesthetic taste. The aesthetic level, Bourdieu is the so-called cultural capital play. This is equivalent to the total knowledge ability qualification, down by the school system or family inheritance. Further said that the cultural capital has three main forms: an internalized form, such as human speech and deportment, appearance and style, the art appreciation ability and knowledge; the 2 objective form, namely the cultural products of the collection, such as books, paintings: three institutionalized forms, such as diplomas. As the economic capital, different social strata to the ability to control the amount of economic capital is limited, so is the cultural capital(Yongjun). Mechanism of cultural capital is Bourdieu discussed the reproduction of culture: social class structure, the number of all kinds of capital and social trajectory defined by the actors, is internalized into specific habits, or form specific temperament -- state of mind, temperament, body posture and aesthetic taste, this is seen as a social reproduction the process of internalization. These internalized habits and is always accompanied by people in the field of practice action, maintain or change their position in the social space, this became the general root of all social behavior, survival mode, action rules and strategies, this is the social reproduction "outside" process. Bourdieu view, the interest as a feature of cultural habits, habits of the whole class is one of the key segment of the mark. Because of the importance of performance, interest in it is the ruling class field and the field of cultural production the most important battle chips(Liu Shiyu, Zhang Ning, 1998). In the cultural field, the power relations between actors determines the structure of the field, do those who move or class possess cultural capital, is the relative strength, their presence in the game decided they can occupy the position and their action strategy. Having a higher visibility and art appreciation ability of drama critics felt able to override another dissident critic, impact of a performance with singing drama can be called drama, his comments reflect the cultural capital in the field strength.

Second, the field of cultural production.

Bourdieu points out, "because the relationship is established between the capital and the holders of various grades in the system, the field of cultural production temporarily in the

power field inside was dominant in the", all embracing field such as interest field, economic field or the field of politics essential(Liu Shirong, 1999). Therefore, the cultural field every time is a struggle between the two principles of hierarchical place, two principles are not independent of the principles and the principle of autonomy. The two polar division is such that independent polar view of art is more pure, can in order to pursue the freedom of art or artistic values and sacrifice personal political or economic benefits, if in this economic income is too high, too much money, is not very successful, but appears to be very failure. This has seen little in our society the art for art's sake guys; the latter is full and the political field, economic field is matched with the leading order or public expectations is the field of reward. In understanding the contemporary social framework, it can to a certain extent, is embodied in the art category for the characteristics of industrial production field.

Third, the audience anonymous.

Bourdieu's field reflects the collection of all sorts of system structure, or specification, and in a form or "circle", the field of vision is relatively seems more micro, each person with other people or groups of people with all kinds of relations linked together, everybody to have intention strategy response to others, to others words and deeds to mirror their own words and deeds. The artist from the craftsman "into" free artists ", which the artist gradually get rid of funding into or patron control concrete and has real identity in artistic taste, to pay the anonymous artist, to participate in the concert audience service, so as to obtain a certain degree of liberation in the creation philosophy. This process is very clear wood patron string, "the audience and artist earning power relation and change pulls out in front of us. This process is simple and known as "anonymous" process viewer.

Plays are presented.

The first act, two pieces of land, the same sky.

Italian drama master Verdi and the German playwright Wagner, is the two star the most shining star of the drama. Wagner is a reformer, he always sticks to the aesthetic idea of their own will, philosophy and political ideas through to his drama creation, he is so regardless of the feelings of the audience, in their own view on drama, will he works in the music melody

on the relatively minor position and all let the foil is located in the dramatic effect, the formation of a strong shock effect. Verdi told the audience to meet the requirements of even to the point of not afraid of religious and political pressure, his heart only faithfully services the audience.

If the use of Bourdieu's art production theory field of view in Italy success of the life of Verdi, that we should do the following analysis: Verdi uses a series of patriotic drama to echo the audience heart, even his works have also been seen as one of the Italy national asset class awakening symbol. So we can see that, as to suppress political field to cultural field rulers no absolute power. Economic field for drama production to role play is undoubtedly a great field. In Italy, the nobles with foreign rule and decline, the rise of Italy national bourgeoisie, theater and drama publishing is two very big business, the existence of a theater, is to sit with the audiences(Liu Xuefeng, 2008). Verdi or for practical reasons, exhibit bowed to political power attitude, he put the "Nabucco" mention to Austria Princess Aday Raid, had "Lombards" to Palma - Maria Louisa and the ruling request reward medal.

While the German Wagner, he told the audience of different attitude in Verdi: for the public, his attitude is, "art should be for them to open up new beauty, they become more beautiful human education". From the beginning of his first novel "Li Enji".

He had never intended to go along with the audience the palace of tradition, ethics requirements or ethnic color "out of date" thing.

"Composers don't want for money to provide what drama. His writing is based on the rational reasoning, art and revolution "," the future work of art "and" drama and drama "are regarded as one of his three important theory works. He holds that whole art, which is a kind, can be fully integrated into the music drama and drama performance as one of the existing(Robinson, 2008). The field of Politics: the creation of Wagner 'Nuremberg singer "the historical background," although the state and politics is divided, Germany is in art in the realization of the unity of A. This is also reflected in the theater. Whether it is "Ron Green"or" Nuremberg singer ", all these works reflects the power of rising ethnic consciousness. Economic field and theater relationship is: economic all-out to theater to represent various art field penetration, this of course is Wagner aware of the sensitive. He thinks that, compared to the nobles

ignorance, modern industry is the art of greater enemies. Italian drama production field situation is different for the audience, Wagner's patriotic spirit is a kind of "leading", while the Italian artist for the audience's patriotic spirit is more of an "echo".

[Scene] Second spatio-temporal trajectory in search of the whereabouts of the audience. Verdi's success is a bottom-up success, he as a rising artist, successful public affirmation, and Wagner's success is a kind of art. Belief in the success, he as a slightly stubborn artists, successful let the public accepted his idea. Italy drama production field is the degree of autonomy of the lower field, in grade sequence inside it, the audience because of their economic power penetration control drama production field, field operation logic is audience oriented, the composer must follow this principle to realize the good interaction between art and survive in this field, and the realization of personal value. The composer of "the artistic conscience" more embodied as responsible for the audience, they imagine the audience's aesthetic taste and created their own works, and be strict in one's demands strict to their implementation; and the drama production field in Germany is the opposite, in grade sequence inside it, the artist can carry a variety of economic and political pressure stick to his own artistic concept, the audience is at very low posture, and open and respectful to their artists and their advocates.

We can easily observe that in the two countries, Italy and Germany, there are asynchronous in the history of development of Chinese drama. This prompted us to look for the opportunity, can occur as the location of the target process, the process of view two countries occurred, the audience were subject to what kind of social sculpture (engrave) or immersion (en-culture), to develop such a different "habit". As time consumption of the main drama in the Italy audience, drama is the function of "entertainment", its purpose is to make people relaxed and happy, but the Germans became theater customers, drama bear the function is not so simple, "social" and "improving" has replaced the entertainment function so it becomes the drama "selling point", accept the groups for the function of drama looks different, cognition is different, appreciate the space. Given different meaning. These contrasts, natural in the implementation of the above difference opera habits -- the former sits on the rocking chair with entertainment, while the latter is full of wishes to climb a ladder to the top.

Cultural actors habits deeply affected by social factors of the sculpture, whether the audience is also a composer, their social environment and the experience of social change, deciding them for the appreciation of art or the way of creation. Proud Wagner on behalf of the German musician since Needless to say, although the life of Verdi will be in the audience aesthetic if the iron rule, but between him and the audience is not a simple obedience and relations of domination. Anonymous audience group is a diversified, their aesthetic attitude is relatively indifferent and casual. Compared to accept too many rules and patterns of the aristocracy, they perceived the art expressive force instead of the more flexible and open. Thus, even to the audience the best bow Verdi, acquired in the art of free space is significantly higher than the court musicians.

"The audience anonymous" process is undoubtedly accompanied by commercialization. The play shows them display style to bring money and build court composer reputation, timely to promote this change is inseparable from the business elite have taken in the weakened aristocracies. In the German logic, after a flash in the pan commercial role was occurred in the cultural field of a kind of "art hallowed a strength to hide, while in Italy, the business logic is well preserved.

We should be aware of the fact, in the course of development of some of the so-called elegant cultural products, as long as the art market exists, then the commercial operation will be accompanied by the art market presence. Whether they come from the court or from the palace, or from the bourgeois noble ladies piano room, when something of an art form into the market, it will bring the commodity attribute, acceptance and product convicted of anonymous mass, and get forward momentum in this process. Although it is a kind of aesthetic taste are hidden, but it never stagnates. Perhaps, as Xing Xihuan said, "Commercial sexual identity art is not on the art of blasphemy and degrade scientifically, but art is the objective attribute recognition and respect."

To make a long story short, in Italy and Germany in the discussion, the mainstream aesthetic interest gives dramatic significance is obviously different. The Italian audience also by the modernity as a coerced civilization standard test in modernity process, their strong cultural habits still reserved after baptism, we also have reason to believe that the cultural habits of the

German audience and not easy to change. Gerner personally created the worship Rui special theater remains a powerful "respect" great art tradition, usually go to worship Rui special "pilgrimage", still can feel a kind of ritual with a sense of oppression and the feeling of silence(Pierrot, Borromeo Li, 2000). However, in the song theater, there are at least two different logic thinking to uphold the opera habits but we can be sure of it. To declare the legitimate aesthetic tastes the same cultural products, may be because of the different regions of the field of cultural production structure is different, the subject of culture habits strengthening way is different, resulting in a each other difficult to form a conclusion for. In this case, wise not to try to help them cutting out a winner, but a flexible Do in Rome as Rome does., try to imitate both habits, and to feel and to accept different -- Wine is vintage, beer is mellow, when we can integrate into the field of them and try the internalization of traditional habits of the corresponding time, if you still think of elegance and distinction between the two which is very troublesome, it is not necessary at all. Because in the experience of using different appreciation habits of dramas,since we have chosen to enter the corresponding orbit, we have entered the society with different carving process.

[References]

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