Goldsmiths, University of London.
Br J Sociol. 2018 Mar;69(1):23-43. doi: 10.1111/1468-4446.12283. Epub 2017 Jul 25.
For Bourdieu, the field of cultural production is comprised of an autonomous and a heteronomous sector. A heteronomous sector is one that is interpenetrated by the commercial field. I discuss an arena that, until recently, was part of the relatively autonomous sector in the field of cultural production - the supported arts sector in the United Kingdom - and argue that it became more heteronomous, due to the penetration by the state. Heteronomy due to the commercial field is present but secondary to, and driven by, the actions of the state. Political parties' attempts to diffuse and legitimate a particular economic ideology have led to state demands that arts institutions adopt neoliberal business practices in exchange for funding. Government giving to the arts, previously at arm's length, proved to be a Faustian bargain that demanded significant repayment in the form of lost autonomy. Coercive pressures from the state, enacted over time, show how the domination of one field over another can occur, even when the domination is resisted.
布迪厄认为，文化生产领域包括自主领域和他主领域。他主领域是指被商业领域渗透的领域。我讨论了一个直到最近还属于文化生产领域相对自主领域的领域——英国的支持艺术领域，并认为由于国家的介入，该领域变得更加他主。由于商业领域的他主是次要的，并且是由国家的行动驱动的。政党试图传播和使一种特定的经济意识形态合法化，导致国家要求艺术机构采用新自由主义商业实践，以换取资金。政府以前在艺术领域的援助是一种浮士德式的交易，要求以失去自主权的形式进行大量偿还。随着时间的推移，国家施加的强制性压力表明，即使受到抵制，一个领域对另一个领域的支配也会发生。
