Abstract

Through an examination of the paradoxical case of André Gide—who is at once a towering intellectual figure and, for scholars ranging from Paul de Man and Roland Barthes to Emily Apter and Michael Lucey, a “missing” writer—this article proposes a broad reflection on French modernism as a “missing” aesthetic-political concept. Specifically, it shows how different conceptions of Gide’s relation to modernism and postmodernism inform subsequent and competing definitions of the French literary contemporary. Gide thus comes to represent less an exemplary writer of the modernist literary aesthetic than an exemplary figure for how we now miss modernism, not only in the forms it took in Gide’s work but also more broadly as an idea of a vital cultural politics, of a negativity or an authentic resistant space. Thinking about how that kind of modernism is missing or missed offers another way of thinking about our current relationship to French literary history.

摘要

通过对安德烈·基德（AndréGide）的反常案例的研究，他是一个高大的知识分子，并且对于从保罗·德曼（Paul de Man）和罗兰·巴特（Roland Barthes）到艾米丽·阿普特（Emily Apter）和迈克尔·露西（Michael Lucey）这样的学者，“失踪”作家，本文提出了广泛的反思。认为法国现代主义是“缺失的”美学政治概念。具体而言，它显示了吉德与现代主义和后现代主义的关系的不同概念如何影响了法国文学当代艺术的后续定义和相互竞争的定义。因此，对于我们现在如何错过现代主义，吉德不再是现代主义文学美学的典范作家，而是作为典范人物，不仅体现在吉德作品中的形式，而且更广泛地体现了重要的文化政治思想。否定性或真实的抵抗空间。