«Проблемне поле» французької гуманістики: досвід другої половини ХІХ століття

Abstract

The material of the article is focused on the second half of the 19th century - an important and very specific stage in the development of French humanities. Specific historical and cultural traditions that positively influenced the research of the 1850s and 1870s and contributed to active cultural processes in the period of the end of the Romantic era are singled out.Emphasis is placed on the formation of theoretical and practical - a structural element of European humanities - in the logic of which organically combined research and artistic creativity. It is emphasized that its scientific potential was very strongly manifested in the French space thanks to F. d'Aubignac, F.-M. Voltaire, D. Diderot - prominent figures of national culture.During the 19th century theoretical and practical parity was established in the French humanities and found a logical continuation both in outlining and justifying the expediency of the next aesthetic and artistic movement: - realism - naturalism - symbolism - The blurring of the creative principles of romanticism by both realism (O. de Balzac) and naturalism (E. Zola) is stated, and the position of S. Baudelaire is emphasized, who on one hand criticized romanticism since the late 1840s, and on the other hand, gradually rooted the principles of the aesthetics of decadence and symbolism - the origins of which literary critics associate with his poetry - in the European cultural space. It is argued that these processes formed a problem field of French humanities, which outlined the contradictory movement of further artistic development.The article highlights the figure of T. Gautier, who continued to profess the principle of parity, positioning himself as a poet, novelist, theorist and journalist. It is emphasized that he tried to harmonize the then tendencies of French humanities around the of for art's sake, which is still perceived and evaluated by the scientific community very ambiguously. Conducted comparative analysis of interpretations of theory for and defined its aesthetic principles, as both Gauthier and his immediate entourage - S. Baudelaire, G. de Nerval, S. Leconte de Lisle - strongly denied the importance of the functionality of art, emphasizing its self-sufficiency and self-worth. It is emphasized that as a result of such a orientation, they, on the one hand, refuted a number of statements of both the first and second generation of French educators, and on the other hand, significantly strengthened the aesthetic factor in assessing the phenomenon of art in the late 19th century.The aesthetic factors used by T. Gautier and his supporters are considered. Trying to prove the value of a work of art, not the functions it can perform. In this context, the object of attention are beauty, ideal, beautiful - ugly, dream-delirium and a set of issues related to the logic of the creative process and psycho-physiological states of the artist who carries it out (inspiration, imagination, fantasy, sensuality - rationality).The special significance of the last two decades of the 19th century is noted, when, on the one hand, the scientific space includes intuitionism - the concept of H. Bergson - thus defining the emergence of a new problem field, and on the other, exhibits fauvist paintings of H. Matisse (1905) that witnessed the emergence of avant-garde.