本研究旨在梳理美国社会学家贝克尔(Howard Becker, 1928~2023)“艺术界”(art worlds)的社会学指向,及其在国内外研究中的接受状况。首先,本文探讨贝克尔“艺术界”与传统艺术哲学中对艺术内部的“艺术世界”(artworld)研究范式不同,转向一种外部的艺术社会学研究视角,这种视角深受贝克尔另一部“越轨”研究的著作《局外人》影响,将艺术视为一种“标签化”的建构。纵观现阶段学界对“艺术界”的研究视角,国外主要聚焦于“互动主义”“艺术生产”“比较‘艺术界’‘场域’等相近概念”三大方面,国内学界以贝克尔《艺术界》的中文译者卢文超的研究最为丰富,宏观上的研究情况多是沿袭国外的视角,但在中国学术界的应用和深入探讨仍然有限,贝克尔“艺术界”研究在我国仍有较大提升空间。This study aims to explore the sociological orientation of American sociologist Howard Becker’s (1928~2023) concept of “art worlds” and its reception in both domestic and international research. First, the paper examines how Becker’s “art worlds” differs from the traditional art philosophy paradigm of internal “artworld” studies by shifting towards an external sociological perspective on art. This perspective is heavily influenced by Becker’s other notable work on “deviance” Outsiders, which views art as a “labeled” social construct. In reviewing current research on “art worlds” international studies primarily focus on three areas: “interactionism” “art production” and comparative studies of similar concepts like “art worlds” and “fields”. In China, the most extensive research has been conducted by Lu Wenchao, the Chinese translator of Becker’s Art Worlds. While much of the domestic scholarship follows international perspectives, the application and in-depth exploration of Becker’s theory in Chinese academia remain limited, suggesting that there is considerable r
