Abstract
After tracing Bourdieu’s ambiguous role in pragmatism’s recent reception in France and then outlining the many themes Bourdieu shares with pragmatism, this paper highlights the differences between pragmatist aesthetics and Bourdieu’s aesthetic theory. Critically responding to Bourdieu’s arguments against pragmatist aesthetics for its interest in activist theory and its defense of popular art and aesthetic experience, the paper examines the limits of Bourdieu’s account of aesthetics as a science of art, including his final analysis of art as practice that is articulated in his posthumously published book on Monet.
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