Bourdieu The Rules of Art Genesis and Structure of the Literary Fieldu.pdf

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F � -
THE RULES
OF ART
Genesis and Structure
ofthe Literary Field
Translated by
Pierre Bourdieu
Susan Emanuel
Stanord
Universiy
Press
Stanord
Calornia
I99 5
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Contents
Translator's Preface
Xlll
�a
�
Acknowledgements
XXI
PROLOGE Flaubert, Analyst of Flaubert: A Reading of
Sentimental Education
1
Places, Investments, Displacements
4
The Question of Inheritance
9
Necessary Accidents
20
The Power of Writing
25
Flaubert's Formula
28
Appendix 1: Summary of Sentimental Education
35
Appendix 2: Four Readings of Sentimental Education
37
Appendix 3: The Paris of Sentimental Education
40
PA RT I
Three States of the Field
1 The Conquest of Autonomy: The Critical Phase in the
Emergence of the Field
'
47
A Structural Subordination
Bohemia and the Invention of an Art of Living
48
54
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x
Contents
Contents
Xl
The Rupture with the 'Bourgeois'
Baudelaire the Founder
The First Calls to Order
A Position to be Made
The Double Rupture
An Economic World Turned Upside Down
Positions and Dispositions
Flaubert's Point of View
Flaubert and 'Realism'
'Write the Mediocre Well'
R � turn to Sentimental Education
The Imposition of Form
The Invention of the 'Pure' Aesthetic
The Ethical Conditions of the Aesthetic Revolution
57
60
68
71
77
81
85
87
91
94
100
103
105
109
The Space of Points of View
Bypassing the Alternatives
193
205
206
To Objectiy the Subject of Objectiication
A ppendix: The Total Intellectual and the Illusion of the
Omnipotence of Thought
209
2 The Author's Point of View: Some General Properties of
Fields of Cultural Production
214
215
223
227
231
234
The Literary Field in the Field of Power
The Nomos and the Question of Boundaries
The Illusio and the Work of Art as Fetish
Position, Disposition and Position-taking
The Space of Possibles
Structure and Change: Internal Struggles and Permanent
Revolution
Reflexivity and 'Naivete'
Supply and Demand
Internal Struggles and External Sanctions
The Meeting of Two Histories
The Constructed Trajectory
The Habitus and the Possibles
The Dialectic of Positions and Dispositions
Formation and Dissolution of Groups
A Transcendence of Institution
'The Impious Dismantling of the Fiction'
2 The Emergence of a Dualist Structure
113
239
242
249
252
256
258
261
264
267
270
274
The Particularities of Genres
Differentiation of Genres and Uniication of the Field
Art and Money
The Dialectic of Distinction
Speciic Revolutions and External Changes
The Invention of the Intellectual
. The Exchanges between Painters and Writers
For Form
114
117
121
126
127
129
131
138
3
The Market for Symbolic Goods .
141
142
146
154
159
161
166
Appendix: Field Effect and Forms of Conservatism
278
Two Economic Logics
Two Modes of Ageing
Leave a Mark
The Logic of Change
Homologies and the Effect of Pre-established Harmony
The Production of Belief
PRT ll To Understand Understanding
1
The Historical Genesis of the Pure Aesthetic
Analysis of Essence and Illusion of the Absolute
Historical Anamnesis and the Return of the Repressed
Historical Categories of Artistic Perception
The Conditions of Pure Reading
Poverty of Ahistoricism
Double Historicization
285
286
290
295
302
306
309
PRT T Foundations of a Science of Works of Art
1
Questions of Method
177
A New Scientiic Spirit
Literary Doxa and. Resistance to Objectiication
The 'Original Project', Founding Myth
Thersites' Viewpoint and the False Rupture
178
184
187
191
2 The Social Genesis of the Eye
The Quattrocento Eye
The Foundation of the Charismatic Illusion
313
315
319
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r- '
- -
Xll
Contents
3 A Theory of Reading in Practice
322
A Relecting Story
Time of Reading and Reading of Time
324
326
DA CAPO Illusion and the Ilusio
331
POSTSCIPT For a Corporatism of the Universal
337
Translator's Preface
Notes
Index of Names
Subject Index
349
397
404
Tackling a major opus by Pierre Bourdieu is particularly daunting
since he has been so well served by many previous English translators.
lowe a debt to my predecessors; even if I have not always followed
their precedents.
The Rules of Art is a complex book which spans too .any
academic ields for any one translator to claim particular expertise.
In the Prologue, a reading of Gustave Flaubert's Sentimental Edu­
cation, and in the irst part, about the conquest of autonomy in the
ield of cultural production, Bourdieu invites us on a 'walk through
the woods' of the literary and artistic ields in the second half of the
nineteenth century, including byways forgotten even by those well
versed in French literary history. Portions of part II, which lays the
foundation of what he calls a 'science of works of art' and of part III,
an analysis of the pure aesthetic and alternatives to it, have appeared
previously in a variety of contexts, but they have since been revised
in the writing of this work.
I have respected Bourdieu's 'hierarchy of text', in which he
complements the main argument with illustrative text in smaller type,
afid both are supported by a network of footnotes, many of them
pithy, now moved to the end of the text. Several chapters have
appendices which furnish concrete examples or push an argument in
a polemical direction. His footnotes are so rich that I have hesitated
to add to their number, except for occasional glosses of his key
theoretical terms for those new to his thought, and of literary or
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