Théophile Gautier and the Modernist Aesthetic: A Forgotten Player at the Intersection of Times, Signs and Media

作为19世纪法国文学经典中最多才多艺的人物之一，塞菲尔·戈蒂埃(1811-1872)在学术界相对较少受到评论界的关注。长期以来，戈蒂埃一直被视为精英主义、自我指代的“为艺术而艺术”情感的原型支持者，他的大量作品--包括诗歌、散文、戏剧和芭蕾舞剧本，以及艺术评论、游记、宣言和理论著作--只是逐渐从更细微的重新评估中受益。尽管如此，最近的戈蒂埃学术特别热衷于突出戈蒂埃的关键角色，既是19世纪相互竞争的艺术概念之间的调解人，也是现代性演变的关键参与者。在这种批判性的重新评估的背景下，戈蒂埃和现代性最初将涉及对戈蒂埃广泛的作者角色的系统审查。这个项目的主要目的是帮助人们重新理解戈蒂埃对审美自主性的独特看法，审美自主性是一种传统上被认为是非生产性和超凡脱俗的美学。因此，在对戈蒂埃创新方法的研究中，出现了两个显著的特点。首先，在一个以现代性为特征的日益分化和制度化的时代，这种方法赋予了艺术开创性的新功能。其次，通过一种明确的跨学科和中介方法，艺术努力被转变为一种批判性的自我审视方法，这为一种明显的现代主义美学提供了理论和实践上的基础。戈蒂埃和现代性对戈蒂埃作品中的中介参照点的研究远远超出了对戈蒂埃抒情作品中的艺术换位的既定研究，特别是关注他的小说和中篇小说(散文)，但也关注他的戏剧作品和新闻--到目前为止，学术界对这些领域的关注很少。戈蒂埃对中介的方法是这个项目的核心要素，在19世纪艺术的背景下，在纷乱的理论和利益集团中提供了一个密切相关的(自我)批评平台，最重要的是，这种方法被证明是对艺术发展的极具先见之明的超越硅谷的发展。

As one of the most versatile figures in the 19th-century French literary canon, Théophile Gautier (1811-1872) has garnered relatively little critical attention in the academic arena. Long dismissed as the archetypal proponent of an elitist, self-referential "art-for-art's-sake" sensibility, Gautier's extensive oeuvre - which encompasses poetry, prose, drama and libretti for ballet, as well as art criticism, travelogues, manifestos and theoretical writings - is only gradually benefitting from a more nuanced reappraisal. Recent Gautier scholarship has nonetheless been particularly keen to foreground Gautier's pivotal role both as a mediator between competing conceptions of art in the 19th century and as a key player in the evolution of modernity. Gautier and Modernity will initially involve a systematic examination of Gautier's wide-ranging authorial roles against the backdrop of this critical reassessment. The primary aim of this project is to facilitate a renewed understanding of Gautier's unique take on aesthetic autonomy, an aesthetic which, in its genesis, is traditionally regarded as unproductive and unworldly. As such, two salient features emerge from a study of Gautier's innovative approach. Firstly, this approach accords a ground-breaking new function to art in an era of growing differentiation and institutionalization that characterizes modernity. Secondly, artistic endeavour is transformed into a method of critical self-examination by virtue of an explicitly interdisciplinary and intermedial approach, which provides the underpinnings for a distinctly modernist aesthetic, both in theory and practice.Gautier and Modernity pursues an investigation of intermedial reference points in Gautier's oeuvre that goes far beyond established research on "transposition d'art" in Gautier's lyrical oeuvre by focussing especially on his novels and novellas (prose), but also on his dramatic works and journalism - areas that have until now received little scholarly attention.Gautier's approach to intermediality, a core element of this project, provides a germane (self-)critical platform amid the welter of theories and interest groups in the context of 19th-century art, an approach which, above all, proves remarkably prescient of developments in the arts beyond the fin de siècle.