For neither love nor money: the place of political art in Pierre Bourdieu's literary field
2009; Taylor & Francis; Volume: 23; Issue: 4 Linguagem: Inglês
10.1080/09502360903000547
ISSN1470-1308
Autores Tópico(s)Electoral Systems and Political Participation
ResumoClick to increase image sizeClick to decrease image size Acknowledgments I gratefully acknowledge the support of Arts and Humanities Research Council awards and an Anglo-California Foundation Scholarship. Notes Bourdieu's theory of the literary field is developed across a number of works, including: Pierre Bourdieu, Alain Darbel and Dominique Schnapper, The Love of Art: European Art Museums and Their Public (Cambridge: Polity Press, 1997); Pierre Bourdieu, Distinction: A Social Critique of the Judgment of Taste, (London: Routledge & Kegan Paul, 1984); Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature (Cambridge: Polity Press, 1993); and Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field (Cambridge: Polity Press, 1996). If I am here almost exclusively concerned with the last of these, it is because The Rules of Art synthesizes and systematizes the earlier works, and is the only of Bourdieu's book-length studies entirely devoted to literature. Bourdieu, The Rules of Art, p. 205. I was drawn initially to Bourdieu's work on account of precisely this feature, which is likewise cited by several of the growing number of literary critics whose methodologies rely substantially on Bourdieu's model. Pascale Casanova, for example, argues in The World Republic of Letters (Cambridge, Massachusetts; London, England: Harvard University Press, 2004), that the theory of the literary field has allowed her to overcome 'the supposedly insuperable antinomy between internal criticism, which looks no further than texts themselves in searching for their meaning, and external criticism, which describes the historical conditions under which texts are produced' (pp. 4–5); Peter D. McDonald has similarly observed in British Literary Culture and Publishing Practice, 1880–1914 (Cambridge University Press, 1997), that that the theory of the field 'enables us to move beyond the classical impasse between purely "internalist" modes of reading, which focus on textuality per se, and "externalist" modes, which threaten to dissolve the text into its non-discursive contexts' (p. 122). Bourdieu, The Rules of Art, p. 91. All further references to this work incorporate page numbers in the text. Toril Moi, What is a Woman?: And Other Essays (Oxford University Press, 1999), p. 302. Peter D. McDonald, British Literary Culture and Publishing Practice, 1880–1914 (Cambridge University Press, 1997), p. 14. Nhlanhla Maake, 'Publishing and Perishing: Books, People and Reading in African Languages in South Africa', in The Politics of Publishing in South Africa, edited by N. Evans and M. Seeber (London, Scottsville: Holger Ehling Publishing, University of Natal Press, 2000), pp. 127–59 (p. 138). Ibid., p. 147. Mbulelo Mzamane, 'Literature and Politics among Blacks in South Africa', in Soweto Poetry, edited by M. Chapman (Johannesburg; New York: McGraw-Hill, 1982), pp. 150–6 (p. 150). J. M. Coetzee, 'The Novel Today', Upstream, 6 (1988), pp. 2–5. Alex La Guma, And a Threefold Cord (London: Kliptown Books, 1988), p. 9. Mothobi Mutloatse, ed., Forced Landing: Africa South Contemporary Writings (Johannesburg: Ravan Press, 1980), p. 6. 'About Staffrider', Staffrider, 1 (1978), p. 1. Peter Randall, 'The Beginnings of Ravan Press: a memoir', in Ravan Twenty-Five Years (1972–1997): A Commemorative Volume of New Writing, edited by G. E. De Villiers (Randburg: Ravan Press, 1997), pp. 1–12 (p. 10). Ibid., p. 11. Bo G. Ekelund, In the Pathless Forest: John Gardner's Literary Project (Uppsala University, 1995). Mothobi Mutloatse, ed., Forced Landing: Africa South Contemporary Writings (Johannesburg: Ravan Press, 1980), p.6. For Bourdieu's discussion of strategies of reconversion, see Distinction, pp. 125–154. Publications and Entertainment Act (1963). Margreet de Lange, The Muzzled Muse: Literature and Censorship in South Africa (Amsterdam: John Benjamins, 1997), p. 10. J. M. Coetzee, Doubling the Point: Essays and Interviews (Cambridge, Massachusetts; London: Harvard University Press, 1992), p. 298. Nadine Gordimer, 'A Writer's Freedom', in The Essential Gesture: Writing, Politics and Places, edited by S. Clingman (London: Cape, 1988), pp. 104–10. Quoted in Gordimer, 'A Writer's Freedom', p.105. Gordimer, 'A Writer's Freedom', p. 105. I am grateful to Meg Samuelson of Stellenbosch University for observing a link between the desire to be censored and an author's material conditions. It is of interest to note, for example, that the shift to more politically radical literary modes in the work of Gordimer and Brink occurred after both had established their reputations. Nadine Gordimer, 'English-Language Literature and Politics in South Africa', in Aspects of South African Literature, edited by C. Heywood (London: Heinemann, 1976), pp. 99–120 (p. 112). T. T. Moyana, 'Problems of a Creative Writer in South Africa', in Aspects of South African Literature, edited by C. Heywood (London: Heinemann, 1976), pp. 85–98 (p. 86). J. M. Coetzee, Doubling the Point: Essays and Interviews (Cambridge, Massachusetts; London: Harvard University Press, 1992). Ibid., pp. 298–99. André Brink, Mapmakers: Writing in a State of Siege (London: Faber, 1983), pp. 164–5. Ibid., p. 165. Peter D. McDonald, 'The Writer, the Critic, and the Censor: J.M. Coetzee and the Question of Literature', Book History, 7 (2004), pp. 285–302; Peter D. McDonald, ''Not Undesirable': J.M. Coetzee and the Burdens of Censorship', in Re-constructing the Book: Literary texts in transmission, edited by M. Bell, S. Chew, S. Eliot, L. Hunter and J. L. W. West III (Aldershot; Burlington, VT: Ashgate, c.2001), pp. 170–83. J.C.W. van Rooyen, Censorship in South Africa (Cape Town: Juta & Co, 1987), p. 10. It is a question of some interest whether these conditions came into being in the United States (and even the United Kingdom) following the attacks of September 11th, 2001. One is tempted to suggest that they did, though further research would be required to substantiate this claim. In the United Kingdom, at least, the success of David Hare's Stuff Happens and Alan Rickman and Katherine Viner's My Name is Rachel Corrie, not to mention Harold Pinter's Nobel Prize acceptance speech, suggests the forceful re-emergence of a political principle of hierarchization. Pascale Casanova, The World Republic of Letters (Cambridge, Massachusetts; London, England: Harvard University Press, 2004). Ibid., p. 105, p. 80. Ibid., p. 83. Pierre Bourdieu, 'Le marché des biens symboliques', L'Année sociologique, 22(1971), pp. 51–126. For Kant's distinction between pure and mercenary art, see § 43 of Immanuel Kant, Critique of the Power of Judgment (The Cambridge Edition of the Works of Immanuel Kant in Translation) (Cambridge University Press, 1991); on the relationship between the aesthetic experience and morality, see §59 of the same work. McDonald, British Literary Culture, p. 14. Miriam Tlali, 'Interview: Miriam Tlali', in Writing South Africa: Literature, Apartheid and Democracy, 1970–1995, edited by D. Attridge and R. Jolly (Cambridge University Press, 1998), pp. 141–8 (p. 144). Es'kia Mphahlele, Voices in the Whirlwind and Other Essays (London: Macmillan, 1973), pp. 197–8. Njabulo Ndebele, South African Literature and Culture: Rediscovery of the Ordinary (Manchester University Press, 1994), pp. 47–8. Mothobi Mutloatse, ed., Reconstruction: 90 Years of Black Historical Literature (Johannesburg: Ravan Press, 1981), p. 6. Mutloatse, Forced Landing, p. 5. Theodor W. Adorno, Aesthetic Theory (London: Continuum, 2004), p. 443.
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