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Dandy Und Tabu. Transgressionen Bei Stendhal, Théophile Gautier Und George Moore

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Dandy Und Tabu. Transgressionen Bei Stendhal, Théophile Gautier Und George Moore Dandy und Tabu. Transgressionen bei Stendhal, Théophile Gautier und George Moore. von Melanie Grundmann eingereicht als Dissertation an der Kulturwissenschaftlichen Fakultät der Europa- Universität Viadrina, Frankfurt (Oder), 2010 Gutachter: Prof. Hartmut Schröder Prof. Günter Erbe Ich versichere, alle Hilfsmittel und Quellen angegeben zu haben und die Arbeit auf dieser Grundlage selbständig verfasst zu haben. Melanie Grundmann Abstract The dandyistic pursuit of singularity and originality ultimately leads to transgression of taboos. These illustrate the conflict between the dandyistic individual and society at large. This conflict is primarily waged in the domain of morality. Due to his striving for originality, the dandy is in constant opposition to bourgeois society which demands conformity and does not conform to the values and norms of this society. His defiance of its rules inevitably leads to a transgression of taboos which is equivalent to a critique and rejection of society's morality. Whilst Stendhal and Théophile Gautier transgressed the general taboo of truth which dominated French society at the beginning of the 19th century, George Moore primarily violated taboos concerning the human condition and body. All of these led to the violation of the ultimate taboo recognizing the powers that be. Transgressions of taboos allow changes of perspective and a critical challenge to the values and norms of society. Through aesthetics these writers presented new experiences of the world which were condemned from a moral point of view, but which nonetheless provided new insights and alternatives. Inhalt 1. Einleitung ...…………………………………………………………………………………….. S. 1 a. Forschungsstand ……………………………………………………………….…….. S. 7 b. Dandystische Opposition …………………………………………….……………. S. 13 i. Die Genese des Dandys …………………………………….….….…………….. S. 18 ii. Der intellektuelle Dandysmus ……………………………..………………….. S. 32 i. Der oppositionelle Charakter des Dandys ………………….…………….. S. 35 c. Tabu und Tabubruch ……………………………………..…………………………. S. 43 i. Zum Tabubegriff ……………………………………..….…………………………. S. 43 ii. Der moderne Tabubegriff .....…………………………………………………… S. 46 iii.Tabus in ihrer soziologischen Funktion …………………………………… S.49 iv.Tabubruch .…………………………………………………………………………… S. 52 d. Die soziologische Position des Dandys als Abweichler …………………. S. 54 2. Kulturelle und literarische Strömungen in Frankreich in der ersten Hälfte des 19. Jahrhunderts……..…………………………………..……………………. S. 59 3. Stendhal ………………………………………………………….………………………………. S. 70 a. Dandystische Opposition .……………………………………………………………. S. 70 i. Pariser Eleganz …………………………………….…….…………………………. S. 71 ii. Geistige Überlegenheit ……………………..…………….……………………… S. 74 iii.Oppositionslust ..…………………………………………………………………… S. 76 iv.Kritik an der bürgerlichen Gesellschaft ….……………….……………….. S. 82 v. Unabhängigkeit und Egotismus .……………………………………………… S. 83 vi.Originalität ..…………………………………………………………………….…… S. 86 vii.Das Wort als Waffe ………………………………………….…………….……… S. 88 viii.Künstlerische Innovation ……………………………….…………………….. S. 93 ix.Die Suche nach dem Glück ………………….…………..…………………….. S. 96 x. Freidenker ………………………………………….…….………………………….. S. 99 b. Der literarische Dandysmus Stendhals ……………………….…………………. S. 102 i. Octave de Malivert: Das unsagbare Leiden ….…………………………… S. 104 ii. Julien Sorel: Der Wille zur Macht ……….………………..…………………. S. 113 iii.Mathilde de la Mole: Der erste Schritt …………………..………………… S. 122 iv.Lucien Leuwen: Der Verlust der Natürlichkeit …………………………. S. 124 v. Lamiel: Weibliche Emanzipation ….……………………..………………….. S. 129 vi.Vorwegnahme von Kritik als Ausdruck des Bewusstseins des S. 133 Tabubruchs .…................................................................................... vii.Das Erkenntnistabu: Verbotene Bücher ...……………………………….. S. 135 4. Théophile Gautier ………………………………………………..………………….……….. S. 139 a. Dandystische Opposition ……….…………………………….……………………… S. 139 i. Zeitentfremdung …………..……………………………..………………….…….. S. 141 ii. Geistige Überlegenheit ………………………..…………..…………………….. S. 143 iii.Provokation ………………………………….………………………………………. S. 146 iv.Exzentrizität & Originalität ………………………………..…………………… S. 147 b. Der literarische Dandysmus Théophile Gautiers …………….……………… S. 150 i. Vorwegnahme von Kritik als Zeichen des bewussten Tabubruchs . S. 152 ii. Albertus ..……………………………………………………………………………… S. 160 1. Der Teufel als perfekter Dandy ………………………..………………… S. 160 2. Véronique: Dämonische Femme dandy …….……………………….. S. 163 3. Albertus: Künstlerisch legitimierte Missachtung von S. 164 Erkenntnistabus …..................................................................... 4. Der dandystische Erzähler: Bruch mit den Lesererwartungen . S. 167 iii.Die Jeunes-France ………………………………………………………….…….. S. 172 1. Die Umkehr der Tugend ……………………………….…………………… S. 176 2. Die fehlende Kraft zum Tabubruch ………………….....…………….. S. 179 3. Dandystische Originalität vs. Snobismus …….……….…………….. S. 184 4. Das Spiel mit dem Leser …...………………………………………………. S. 190 5. Affront des Bürgers ..……………………….………..……………………… S. 201 iv.Mademoiselle de Maupin ………………………….……..…………………….. S. 205 1. Verabsolutierung der Schönheit …….………………..………………… S. 205 2. Weibliche Emanzipation ………………..…………….…………………… S. 216 v. Fortunio ..……………………………………………………………………….…….. S. 223 5. Englische Gesellschaft - Die ‘Yellow Nineties’ …………………………………..…. S. 229 6. George Moore ………………………………………………………………………….………. S. 246 a. Dandystische Opposition ……………………………….…….……………………… S. 246 i. Provokation ……………………....……………………..………………………….. S. 248 ii. Geistige Unabhängigkeit ….…………………………………………………….. S. 252 iii.Exzentrizität und Freizügigkeit …………………………..………………….. S. 254 iv.Ästhetizismus …………………………………………………………….…….…… S. 258 v. Zeitentfremdung ……………………………..…………..…………………….….. S. 261 vi.Kälte und Verachtung ……………………………….…………………………… S. 262 vii.Eloquenz und Wit …………………..…………………….………………………. S. 266 viii.Triumph über die Natur ………………………………..………………….….. S. 267 ix.Künstlerische Innovation ……………………………………………………….. S. 269 x. Dilettantismus …………………………….……………..…………………………. S. 274 b. Der literarische Dandysmus George Moores ……...………………………….. S. 276 i. Lewis Seymour und die Moralfreiheit der Kunst ………………….…… S. 279 1. Die Genese eines Dandys …………..………………..……………………. S. 280 2. Der nackte Körper …………………………………….……………………… S. 286 3. Unstandesgemäße Beziehungen …….……………….…………………. S. 291 4. Vorwegnahme von Kritik ………………………..………………………… S. 295 ii. John Norton und 'A Mere Accident' ….…………………..………………… S. 299 1. Dandystische Askese ………………………………….…………………….. S. 299 2. Tabu Vergewaltigung …………….…………………..…………………….. S. 307 3. Tabu Homosexualität …………………………..……..……………………. S. 311 iii.Frank Escott: Erwachende Sexualitäten ……….....…….……………….. S. 314 iv.Mike Fletcher: Die verbotene Frucht …….……………….………………… S. 323 v. Mildred Lawson: Versuch einer Emanzipation …………..…………….. S. 333 1. New Woman und Femme dandy ………………..…….……………….. S. 333 2. Kunst und Moral ……………………………………………………………… S. 342 vi.Owen Asher: Dandystische Korruption …………………………….....….. S. 344 1. Verführung und Erkenntnisgewinn …………………..……………….. S. 344 2. Hysterie und Sinnlichkeit ………………………………..……………….. S. 353 7. Resumée ………………………………………...……………….………………….…………… S. 362 8. Literatur ………………………………………………………….………………….…………… S. 369 9. Bildnachweis ……………………………………………………………………….…………… S. 393 .!2!. «Aber ein Dandy kann niemals ein alltäglicher Mensch sein.» Charles Baudelaire 1. Einleitung Der Dandy ist eine zutiefst paradoxe Erscheinung, denn in seinem Streben nach Einzigartigkeit dürfte er als solcher streng genommen gar nicht zu klassifizieren sein. Fassbar ist er demzufolge am Besten in der Negation, das heißt in der Abweichung von den Normen und Werten der ihn umgebenden Gesellschaft. Da die Erscheinung in ihrem Ursprung ein Phänomen des 19. Jahrhunderts ist, so erfolgt diese Abgrenzung in Hinblick auf die aristokratischen und bürgerlichen Gepflogenheiten. Der Dandy ist bestrebt, sich zu einem einzigartigen Kunstwerk zu stilisieren. Als solches muss er alles andere überstrahlen und übertrumpfen. Dies findet seinen visuellen Ausdruck in der Kleidung, offenbart sich aber auch im überraschenden Gebaren und nicht zuletzt in einer geistigen Überlegenheit, denn der Dandy sieht sich als Bewahrer ästhetischer und kultureller Werte in Zeiten eines wahrgenommen Verfalls. Als im bürgerlichen Sinne nutzlose Existenz gerät er zunehmend in Konflikt mit einer Gesellschaft, die nach Nutzen, Optimierung und Gewinn strebt. Die eigentlich unpolitische Figur des Dandys gerät folglich in ihrem Antagonismus unwillkürlich in die Position eines Gesellschaftskritikers. Die vorliegende Arbeit untersucht die dandystische Opposition exemplarisch im Leben und in der Literatur von Stendhal, Théophile Gautier und George Moore. Stendhal und Gautier lebten und wirkten im beginnenden 19. Jahrhundert in Frankreich zur dortigen Hochphase des Dandytums. George Moore lebte dagegen am Ende des 19. Jahrhunderts in England, als das Dandytum dort in den so genannten Yellow Nineties eine zweite Blüte erfuhr. Anhand ihrer Biografien und Romane soll untersucht werden, inwiefern die dandystische Opposition zu Tabubrüchen führen kann, wie sich diese gestalten und welche Reaktionen dadurch provoziert werden. Der Dandy wird folglich in verschiedenen Ausprägungen Objekt der Untersuchung: zum einen als historische Figur in Form des écrivain-dandys, also des Autors selbst, zum anderen als literarische Figur sowie zuweilen in der vermittelnden Instanz als Erzähler. Da der Dandy ein gesellschaftliches Phänomen ist, tritt seine Opposition in erster Linie auf moralischem Gebiet zu Tage - ein Aspekt, der bislang
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  • Copyrighted Material
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