「生活風格的自我搬演」指涉藝術活動的虛假性，它在一種獨特的行銷機制中成為 一種偽裝的藝術行動的結構邏輯，它將具有（日常生活）美學外貌的消費行動轉化為一 種讓行動者誤以為是具有美學內涵的藝術行動，從而使具有真摯性的美學經驗成為不可 能。本文將回溯Bourdieu中性化的「生活風格」概念，並藉由批判G. Schulze的「生活 風格美學化」命題及導入Oevermann的「自我搬演」的理論架構，來論證「生活風格的 自我搬演」此一獨特行動邏輯的結構特性。「生活風格的自我搬演」必須被視為「文化工 業」運作邏輯更細緻化的表現形式。

The concept of the “self-dramatization of life-style” refers to the falsity of art activities in a special marketing mechanism. The self-dramatization transforms the everyday consuming action with aesthetic appearance into a kind of self-intended aesthetic action. It makes the actor/consumer feel that his consuming action achieve the level of aesthetic value. However, in fact, the actor/consumer loses his own authentic experience of aesthetics. This article will recall Pierre Bourdieu’s the neutralized concept of the “life-style” and criticize G. Schulze’s proposition of the “aestheticization of life-style”. With the help of the framework of the self-dramatization developed by the German sociologist Ulrich Oevermann, this article demonstrates the structural characteristic of the self-dramatization of life-style, which must be considered as the delicate manifestation of the “cultural industry” operation.