scholarly journals Un amour de Swann, un amour comique?

2006 ◽  
Author(s):  
Christian Morin
Keyword(s):  
Marcel Proust ◽  
Point Of View ◽  
Lost Time

Si Un amour de Swann de Marcel Proust constitue en quelque sorte une référence de la description des états d’âme de l’amoureux et du jaloux, tout n’est pas seule passion dans ce fragment d’À la recherche du temps perdu. Différents aspects du texte le font glisser du côté du comique et remettent ainsi en question la lecture au premier degré de l’amour. Cet article propose un regard sur ces aspects comiques qui concernent la vision que le grand-père du narrateur a de Swann, les personnages du salon Verdurin, le point de vue restreint de Swann qui l’entraîne dans des actions dignes de la comédie, sans oublier la fin du récit en double renversement ironique. AbstractIf Swann’s Way by Marcel Proust constitutes a type of reference regarding the description of feelings of the lover and the jealous lover, not all is passion in this fragment In Search of Lost Time. Various aspects of the text slip into a comic register, thus questioning a first-degree reading of love. This article proposes a look at these comedic aspects, which concern the vision that the grandfather of the narrator has of Swann; the characters of the Verdurin salon; Swann’s restricted point of view, which steers him into actions worthy of comedy; without forgetting the end of the story with its double ironic reversal. 

scholarly journals Stylistic functioning of legal vocabulary in the second volume of Marcel Proust’s novel “In Search of Lost Time”

2019 ◽  
Vol 17 (2) ◽  
pp. 65-76
Author(s):  
E. S. Savina
Keyword(s):  
International Law ◽  
Criminal Law ◽  
Constitutional Law ◽  
Marcel Proust ◽  
Point Of View ◽  
Stylistic Analysis ◽  
The Internet ◽  
Bilingual Dictionaries ◽  
Domains Of Life ◽  
Lost Time

The present article deals with the stylistic functioning of legal vocabulary in the second volume of Marcel Proust’s novel “In Search of Lost Time” (“À la recherche du temps perdu”) “In the Shadow of Young Girls in Flower” (“À l’ombre des jeunes filles en fleurs”). The current interest in the problem lies in the fact that, as far as we know, though Marcel Proust’s texts have been studied from different viewpoints, no research has been done on the author’s use of stylistic figures based on legal vocabulary. It would be reasonable to examine in detail how Marcel Proust resorts to the legal vocabulary from the point of view of stylistics at the end of the first and at the beginning of the second part of the second volume of his novel. What we are aiming at is revealing, classification, and stylistic analysis of such figures. We use the methods of semantic, linguistic and contextual analyses. We have verified the meaning of the legal terms under study in monolingual and bilingual dictionaries, in the general vocabulary Thesaurus as well as in the dictionaries of legal terms; we have consulted the Internet to check their usage in contemporary French. We have also found out, wherever it was possible, what other stylistic figures those based on legal vocabulary correlate to. Our analysis shows that Marcel Proust employs general legal vocabulary (“article de loi”, “compétence et juridiction”, “coutumier”, “police particulière”) as well as legal vocabulary from different branches of Law, namely Constitutional Law (“Chambre”), Criminal Law (“geôlier”, “prison”, “voleur”), International Law (“chef d’État pendant les toasts officiels”, “exterritorialité”) and Financial Law (“livre de comptes”, “avance”, “solde créditeur”, “débit”) in order to describe different domains of life (such as relations in high society, those among the bourgeoisie as well as relations between friends and those of a teenager in love). “Legal” similes and metaphors can be combined with those from other domains of life, particularly with stylistic figures referring to art (namely, one of La Fontaine’s fables), medicine and war. This narrative technique makes the author’s text more expressive. More detailed analysis of such figures, as well as the fact of establishing their textual connections within all Marcel Proust’s texts, will contribute to revealing the specificity of the author’s language and style.

Le premier moment de l’art dans À la recherche du temps perdu de Marcel Proust – une « leçon d’idéalisme » ?

2020 ◽  
pp. 25-40
Author(s):  
Larisa Botnari
Keyword(s):  
Essential Role ◽  
Marcel Proust ◽  
The Self ◽  
Philosophy Of Art ◽  
The Novel ◽  
Philosophical Interpretation ◽  
German Philosopher ◽  
Lost Time ◽  
Aesthetic Thinking

Although very famous, some key moments of the novel In Search of Lost Time, such as those of the madeleine or the uneven pavement, often remain enigmatic for the reader. Our article attempts to formulate a possible philosophical interpretation of the narrator's experiences during these scenes, through a confrontation of the Proustian text with the ideas found in the System of Transcendental Idealism (1800) of the German philosopher F. W. J. Schelling. We thus try to highlight the essential role of the self in Marcel Proust's aesthetic thinking, by showing that the mysterious happiness felt by the narrator, and from which the project of creating a work of art is ultimately born, is similar to the experiences of pure self-consciousness evoked and analyzed by Schellingian philosophy of art.

O Platonismo de Marcel Proust

2006 ◽  
Vol 14 (27) ◽  
pp. 107-119
Author(s):  
José António Leite Cruz de Matos Pacheco ◽  
Keyword(s):  
Marcel Proust ◽  
Philosophical System ◽  
Lost Time ◽  
As If

Marcel Proust is not known as a philosopher. Nevertheless, his monumental masterpiece, In Search for Lost Time, must be understood as a System - not a «philosophical System», but a System sustained and moved by a philosophy of existence: «System of existence itself»; «System of time» in its mere occurrence. Memory becomes here, in face of time, an almost sacred way of revealing sense: and sense - the sense that one can see and understand by this work of memory - somehow emerges like a perfect, platonical form, that brings happiness and is wisdom, not as if we have already seen it in a previous life of the soul, but in the process of making its own rememberance and comprehension.

scholarly journals Introspection créatrice et comédie humaine. Proust, Balzac et Bergson

1969 ◽  
Author(s):  
Thomas Carrier-Lafleur
Keyword(s):  
Marcel Proust ◽  
Honore De Balzac ◽  
Henri Bergson ◽  
Comedie Humaine ◽  
Lost Time ◽  
The Aesthetic

En analysant la place que prend Honoré de Balzac dans l’œuvre proustienne, cet article souhaite établir une comparaison stylistique entre l’auteur de la Comédie humaine et celui d’À la recherche du temps perdu. Le roman de Marcel Proust est riche des enseignements de l’entreprise balzacienne, ce qui ne veut pas dire qu’il ne tentera pas de la dépasser, au contraire. À l’aide du philosophe Henri Bergson, particulièrement avec son ouvrage Le Rire, sera ainsi expliquée la différence esthétique, voire poétique, entre les écrits de Balzac et ceux de Proust, le second reprenant le grand projet réaliste du premier pour le réfracter dans l’introspection créatrice de son héros-narrateur, ce qui fait de la Recherche une comédie humaine intérieure. Abstract Considering Honoré de Balzac’s place in the works of Marcel Proust, this paper wishes to establish a stylistic comparison between the author of The Human Comedy, and that of In Search of Lost Time (also translated as Remembrance of things past). Proust’s novel is full of Balzac’s lessons, which, however, does not mean he will not try to surpass Balzac’s undertaking, in his own way. Through the philosopher Henri Bergson, especially with his book Laughter, will be explained the aesthetic difference between Balzac’s and Proust’s writings. Proust is taking up Balzac’s major realistic project, but refracting it in the creative introspection of his hero, making In Search of Lost Time an all-personal human comedy.

scholarly journals Imaginaire médiatique et dynamique du regard dans l’œuvre proustienne

1969 ◽  
Author(s):  
Thomas Carrier-Lafleur
Keyword(s):  
Social Network ◽  
19Th Century ◽  
Social Life ◽  
Marcel Proust ◽  
The Other ◽  
The Novel ◽  
Lost Time ◽  
Xixe Siecle ◽  
The 19Th Century ◽  
Xixe Siècle

Cet article propose d’analyser deux aspects majeurs, et pourtant méconnus, d’À la recherche du temps perdu : d’une part, celui d’« imaginaire médiatique », d’autre part, celui de « dynamique du regard ». Tous deux sont propres au XIXe siècle français, espace-temps d’inventions majeures pour notre modernité culturelle et artistique. Le texte proustien, un pied dans le XIEe siècle et l’autre dans le XXe, apparaît ainsi comme un catalyseur et comme un passeur. Le « temps retrouvé » de la Recherche, c’est aussi celui d’un XIXe siècle rendu sensible par le roman, médiatisé par l’œuvre. Le déploiement et la floraison de ces deux thématiques (la première questionnant la problématique de la mondanité et l’autre celle de l’imaginaire de l’œil et de la vision) seront relevés de façon générale dans la Recherche, puis on proposera deux études de cas ― sur le journal et sur la photographie ― qui viendront les illustrer.AbstractThis article proposes to analyze two major aspects of the novel À la recherche du temps perdu (In search of lost time/Remembrance of things past), by Marcel Proust: on one hand, what is called “l’imaginaire médiatique”, on the other hand, “la dynamique du regard”. Both are specific to the 19th century in France, time and place of major inventions for our cultural and artistic modernity. The proustian novel, a foot in the 19th century and the other in the 20th, seems thus like a catalyst and a frontier runner. The “time regained” by In search of lost time is also that of the 19th century, precisely mediated by the novel. The deployment of these two sets of themes (the first questioning the problems of “mondanité” — social life, social network, social gossip and so on —, the second those of vision in a civilization of the eye) will be generally identified in the novel, after which two case studies (on newspapers and on photography) will be proposed to illustrate them.

Mirages and Mad Beliefs

2013 ◽  
Author(s):  
Christopher Prendergast
Keyword(s):  
Marcel Proust ◽  
The Novel ◽  
Literary Thought ◽  
Lost Time ◽  
Writing Practice

Marcel Proust was long the object of a cult in which the main point of reading his great novel In Search of Lost Time was to find, with its narrator, a redemptive epiphany in a pastry and a cup of lime-blossom tea. We now live in less confident times, in ways that place great strain on the assumptions and beliefs that made those earlier readings possible. This has led to a new manner of reading Proust, against the grain. This book argues the case differently, with the grain, on the basis that Proust himself was prey to self-doubt and found numerous, if indirect, ways of letting us know. The book traces in detail the locations and forms of a quietly nondogmatic yet insistently skeptical voice that questions the redemptive aesthetic the novel is so often taken to celebrate, bringing the reader to wonder whether that aesthetic is but another instance of the mirage or the mad belief that, in other guises, figures prominently in In Search of Lost Time. In tracing the modalities of this self-pressuring voice, the book ranges far and wide, across a multiplicity of ideas, themes, sources, and stylistic registers in Proust's literary thought and writing practice, attentive at every point to inflections of detail, in a sustained account of Proust the skeptic for the contemporary reader.

Marcel Proust : la Berma, figure de l’artiste, figure maternelle

2020 ◽  
Vol 65 (2) ◽  
pp. 203-220
Author(s):  
Mireille Naturel
Keyword(s):  
19Th Century ◽  
Marcel Proust ◽  
Point Of View ◽  
Social Challenge ◽  
The 19Th Century ◽  
Main Model ◽  
Family Matter

"Marcel Proust : The Berma, Actress’ Figure, Motherhood’s Character. La Berma is an actress in Proust’s novel À la recherche du temps perdu. Her main model is Sarah Bernhardt and she has the same beautiful voice, a golden voice. Both of them are famous for their role of Phèdre in Racine’s drama. Theatre represents firstly a family matter and a social challenge. The child discovers theatre outside theatre where he is not allowed to go, that is on posters from the Morris column. And the first approach is semiotic. Theatre is included in narration, through two performances that the hero attends. With them, we have an image of theatre in the 19th century, from a sociological and artistic point of view. In the first one, theatre is considered as a low art and actresses are immoral women. Theatre is a cruel world which leads from glory to death, brings rivalry between actresses. In the latter, theatre is above all a text; Proust is interested in gesture and costume. He is focused on the quality of interpretation in comparison with the role. He shows that interpretation is a real art, which can be compared to painting and music. Keywords: art, gesture, interpretation, verse, voice, Phèdre, Proust, Sarah Bernhardt."

Proust and the Amorous Fountain

2017 ◽  
Author(s):  
Camille Naish
Keyword(s):  
Jewish Identity ◽  
Marcel Proust ◽  
First Person ◽  
Anti Semitism ◽  
Lost Time ◽  
High Degree ◽  
Point Of Departure

This chapter takes as its point of departure a curious scene in Sodom and Gomorrah in which a fountain maliciously drenches a society lady, almost raping her in the sight of a bluff, guffawing Grand Duke. Critics have long pondered the significance of the incident. So far, no one has suggested as a possible influence the title of Machaut’s La Fonteinne Amoureuse, an edition of which appeared in Paris in 1908 just as Marcel Proust was beginning work on the texts that developed into In Search of Lost Time. While this hypothesis cannot be proved beyond all doubt, one cannot fail to be struck by a number of similarities between the Proust and Machaut texts: both feature insomniac first-person narrators who produce self-fertilizing narratives displaying a high degree of reflexivity. Both narrators must overcome modest backgrounds as they seek to rise in society. The chapter suggests that Proust, intrigued by the idea of an “amorous” fountain, half-remembered and literalized it—but then occluded the fascinating source, inhibited by a complicated nexus of feelings involving his gay, half-Jewish identity, his addiction to onanism, Machaut’s occasionally anti-semitic diatribes and the rampant anti-semitism of Paris society in the Dreyfus era.

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