（此為暫訂課程大綱，請以開學後社會系網頁上課程資訊的課程大綱為準）

本學門作為大一的必選課項目之一，課程設計因而具有高度的針對性，需適用於東海社會學系大一新生。過去開設的藝術社會學科目雖多，卻多以視覺藝術、美學、或藝術的社會理論為大宗，未曾明確涵蓋文學，現今重新思考文學與藝術社會學並行的可能授課方案。架構設計上，將以同時適用於幾項主要藝術範疇的「基礎通論」和「關鍵面向」為原則來開展，並將該門課簡稱為「文藝社會學」。第一單元首先將介紹文藝社會學的基本原理及文藝與社會之間可能的幾種關係思維模式：

（一）文藝社會學的基本原理：如何思考文藝與社會的關連：法國藝術社會學者Nathalie Heinich曾經梳理藝術社會學不同世代的發展，提出三種藝術社會學的認識論階段：「藝術與社會」(art and society)的對立思考；衡量藝術於社會裡發生脈絡的「社會中的藝術」 (art in society) ；以及「作為社會的藝術」，即藝術界（art as society）。此一關係系列也可用來觀照文學與社會的關連。大抵文藝與社會之間關係的形貌認識，從起初視兩者為相互獨立、對立，漸然加入藝術發展的社會脈絡考察這種嵌入式的思維模式，包括藝術的社會史、藝術史的文化轉向等等。此外，對於藝術主動發揮的塑造性及批判性觀察也漸強，藝術與社會相互浸潤。至二十世紀中葉以後文藝活動發展已具一定的自主性與專業度、社會科學的經驗實證研究工具也日益趨於完善，藝術圈作為一個小規模的社會場域與研究單位遂邁向成熟。三種認識論的關係模式實際上得以共存，並非毫無交集。比起單向式的考察（無論藝術對社會或社會對藝術產生的影響），當代藝術社會學採行互動式、辯證式及開放式的檢驗方法是更為常見的。

此處，「藝術」所涉及的內涵仍有待細部分類：應至少區分作為「實踐活動」的藝術，以及作為「實踐成果」的藝術品。不少文藝社會學課程直接將自身的定位等同於文藝作品的社會學研究，這是經過選擇的。本入門課程架構上則傾向呈現涵蓋文藝社會學關鍵環節與核心面向的全貌，並試圖探問：「文藝既然是一種無法全然與社會切割的實踐，社會學可能的探索課題與路徑有哪些」？課程並在接續的單元裡，區分文藝層面為二：文藝作為一種經歷社會過程的文化生產，以及具體進入作品：文藝作品的社會學研究。

（二）文藝作為一種文化生產及其社會過程：鑑於大一新生的社會學理論基礎尚淺，課程主軸的設置將以藝術經驗的社會過程為縱軸，進而帶入基本的藝術社會學原理，介紹社會學如何處理包括文藝創作者的社會角色、文藝生產、中介與接受等運作機制。文藝的社會過程不僅是經濟意義下的生產與消費，更有美學意義上的創作與鑑賞，以及政治文化意義上的合法性、正典化和結構問題。一個既定社會對於文藝的評價和獎懲制度，將影響文藝的發展。此外，「藝術界」和「藝術場域」的主題，無論就理論或經驗研究方面都存在著成熟的學術著作，不乏結合理論與經驗的典範，例如法國的Pierre Bourdieu對於十九世紀法國文化場域的分析，以及美國 Howard Becker的藝術界探討。

（三）文藝作品的社會學研究：最後，一門涉及不同藝術範疇的文藝社會學課程，會在「作品分析」的層次上，因著藝術類型的迥異而產生最大的路徑分野，研究方法及相關理論皆大異其趣。光是單一藝術領域，即可針對作品的社會學分析設計一整學期的課，我曾開設過以視覺藝術為主的「藝術作品的社會學研究」。今年為了增廣藝術的討論範疇，新的入門課程會在第三單元「文藝作品的社會學研究」裡，以視覺藝術、文學和音樂三個領域為例，概論性地介紹社會學分析文藝作品的方法。一個單元的份量自然無法充分處理作品社會學的全盤問題，然而在一個綜論式的課程大綱架構下，教師僅能以提要的方式進行簡介。本課程大綱所列的文獻當中，指定閱讀的文本將以中文為主，外文為輔。教師將整合多元教材於課堂上一併傳講。

(This is a tentative course syllabus, please refer to the course syllabus on the course information website of the Department of Social Sciences after the semester starts)

As one of the required elective courses for freshmen, the course design is highly targeted and must be suitable for freshmen in the Department of Sociology of the East China Sea. Although there were many art sociology courses offered in the past, most of them focused on visual art, aesthetics, or social theory of art, and did not explicitly cover literature. Now we are rethinking the possible teaching plan of literature and art sociology in parallel. In terms of structural design, it will be developed based on the principles of "Basic General Theory" and "Key Aspects" that are applicable to several major art fields at the same time, and the course will be called "Literary Sociology" for short. The first unit will first introduce the basic principles of literary sociology and several possible thinking models of the relationship between literature, art and society:

(1) Basic principles of literary sociology: How to think about the relationship between literature, art and society: French art sociologist Nathalie Heinich once sorted out the development of art sociology in different generations and proposed three epistemological stages of art sociology: the oppositional thinking of "art and society"; "art in society" that measures the context of art in society; and "art as society", that is, art as society. This series of relationships can also be used to examine the relationship between literature and society. The general understanding of the relationship between literature and art and society initially regarded the two as independent and antagonistic, and then gradually added the social context of art development to examine this embedded mode of thinking, including the social history of art, the cultural turn of art history, etc. In addition, the constructive and critical observation of the active role of art has gradually become stronger, and art and society are infiltrating each other. By the mid-20th century, the development of literary and artistic activities had achieved a certain degree of autonomy and professionalism, and the empirical research tools of social sciences were becoming increasingly perfect. The art circle, as a small-scale social field and research unit, had matured. The three epistemological relational modes actually coexist and are not without any overlap. Compared with one-way inspection (regardless of the impact of art on society or society on art), it is more common for contemporary art sociology to adopt interactive, dialectical and open-ended inspection methods.

Here, the connotation involved in "art" still needs to be classified in detail: at least art as a "practical activity" and artwork as "practical results" should be distinguished. Many sociology of literature and art courses directly equate their positioning with the sociological study of literary and artistic works, and this is by choice. The structure of this introductory course tends to present a comprehensive picture covering the key links and core aspects of the sociology of literature and art, and attempts to ask: "Since literature and art is a practice that cannot be completely separated from society, what are the possible exploration topics and paths for sociology?" In the following units, the course distinguishes two aspects of literature and art: literature and art as a cultural production that undergoes social processes, and the specific entry into works: the sociological study of literary and artistic works.

(2) Literature and art as a kind of cultural production and its social process: In view of the fact that the sociological theoretical foundation of freshmen is still shallow, the main axis of the course will be set with the social process of artistic experience as the vertical axis, and then introduce the basic principles of art sociology, and introduce how sociology deals with the social role of literary and artistic creators, literary and artistic production, intermediary and acceptance and other operating mechanisms. The social process of literature and art is not only production and consumption in the economic sense, but also creation and appreciation in the aesthetic sense, as well as legitimacy, canonization and structural issues in the political and cultural sense. A given society's evaluation and reward and punishment system for literature and art will affect the development of literature and art. In addition, there are mature academic works on the subject of "art world" and "art field", both in terms of theoretical and empirical research, and there are many examples of combining theory and experience, such as France's Pierre Bourdieu's analysis of the French cultural field in the nineteenth century, and American Howard Becker's discussion of the art world.

(3) Sociological research on literary and artistic works: Finally, a sociological course on literary and artistic works involving different artistic categories will have the greatest divergence of paths at the level of "work analysis" due to the different types of art, and the research methods and related theories will be very different. Just in a single art field, a whole semester of courses can be designed on the sociological analysis of works. I once taught the "Sociological Study of Art Works" focusing on visual art. In order to expand the discussion scope of art this year, the new introductory course will introduce the sociological analysis methods of literary and artistic works in the third unit "Sociological Research of Literary and Artistic Works", taking the three fields of visual art, literature and music as examples. Naturally, the weight of one unit cannot fully deal with all the sociological issues of the work. However, under the framework of a comprehensive course syllabus, teachers can only introduce it in the form of a summary. Among the literature listed in this course syllabus, the designated reading texts will be mainly in Chinese, supplemented by foreign languages. Teachers will integrate multiple teaching materials and teach them in class.

阿諾德‧豪澤爾(Arnold Hauser)著，居延安編譯，1991，《藝術社會學》。臺北：雅典出版社。
Alexander, Victoria D.著,張正霖、陳巨擘譯，2006,《藝術社會學：精緻與通俗形式之探索》。臺北：巨流。

Written by Arnold Hauser, compiled by Ju Yan'an, 1991, "Sociology of Art". Taipei: Athens Publishing House.
Alexander, Victoria D., translated by Zhang Zhenglin and Chen Jubo, 2006, "Sociology of Art: Exploration of Refined and Popular Forms". Taipei: Juliu.