scholarly journals Francis Bacon: “pintar sensações” (Francis Bacon: “to paint sensations”)

2013 ◽  
Vol 11 (1) ◽  
pp. 199
Author(s):  
Sonia Borges
Keyword(s):  
Creative Process ◽  
Marcel Proust ◽  
Francis Bacon ◽  
Involuntary Memory ◽  
Artistic Activity ◽  
Lost Time

O texto aborda, pela via da psicanálise, o que consideramos como o “método” de Francis Bacon: “pintar sensações”. Para isto, tomo, como referências principais, a Carta 52 (1896), da correspondência de Freud com Fliess, e Em busca do tempo perdido, romance de Marcel Proust ([1922] 1995), observando a possibilidade de considerar o que Proust nomeia como “memória involuntária” e o seu papel no processo criativo como uma ilustração esclarecedora do que Freud nos traz na Carta sobre a estratificação e o funcionamento do psiquismo. Estas ideias nos parecem bastante profícuas para a apreensão dos processos de subjetivação próprios à atividade artística, oferecendo, portanto, subsídios para pensar o processo criativo em Francis Bacon.PALAVRAS-CHAVE: Sensação. Memória. Criação artística. ABSTRACT This text covers, by psychoanalysis way, what we consider the “method” of Francis Bacon: “to paint sensations”. For that, we take as main references, the Letter 52 (1896), from Freud to Fliess correspondence, and In search of the lost time, a romance of Marcel Proust ([1922] 1995), observing the possibility to consider what Proust names as “involuntary memory” and its role at the creative process as an enlightening illustration of what Freud brings us, at the mentioned Letter about the memory in the stratification and the psychic operation. These ideas seem to us fruitful for an apprehension of the subjective processes proper to artistic activity, offering, then, subside to think the creative process at Francis Bacon.KEYWORDS: Memory. Sensation. Creativity process.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

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.

“The Proustian Corporeity” and “The True Hawthorns”

2020 ◽  
pp. 16-30
Author(s):  
Mauro Carbone
Keyword(s):  
Walter Benjamin ◽  
Common Interest ◽  
Literary Works ◽  
Involuntary Memory ◽  
Lost Time ◽  
The Invisible

In The Visible and the Invisible, Merleau-Ponty famously wrote: “No one has gone further than Proust in fixing the relations between the visible and the invisible.” To gain a fresh and original access to Merleau-Ponty’s interpretation of Proust, this chapter places his views alongside those of another of Proust’s great interpreters, Walter Benjamin. In spite of the absence of explicit references to Benjamin in the writings of Merleau-Ponty, certain intersections are clear. For one thing, we find the originating importance of Husserl for Merleau-Ponty and Benjamin. Though they make reference to very distant periods of Husserlian thought, they share at least a distrust with regard to experience understood as Erlebnis. Second, they each give attention to the theme of essence and ideas, which, concerning artistic and literary works, are considered by the two thinkers as immanent within the works themselves. This suggests one of the most important contributions of Proust to Merleau-Ponty’s thought, the concept of “sensible ideas.” Third, both Merleau-Ponty and Benjamin demonstrate their common interest in perception and memory, sometimes focusing on the very same pages of Recherche du temps perdu [In Search of Lost Time] to deepen, through the character of Marcel, the concept of “involuntary memory.”

Proust Confirmed by Neurosurgery

PMLA ◽  
1970 ◽  
Vol 85 (2) ◽  
pp. 295-297 ◽  
Author(s):  
Justin O'Brien
Keyword(s):  
Marcel Proust ◽  
Total Recall ◽  
Montreal Neurological Institute ◽  
Involuntary Memory ◽  
The Mind

Marcel Proust stated clearly and repeatedly in his vast A la recherche du temps perdu his determining theory of involuntary memory. Proust's entire work was based upon experiences of total recall from a store of memories unconsciously preserved in the mind. In a paper delivered in 1957 by Dr. Wilder Penfield of the Montreal Neurological Institute are to be found physiological bases for Proust's esthetic experiences. Wilder reported that forgotten experiences were revealed to patients in great detail when electrodes were applied to various parts of their brains. Penfield thus supports Proust's view of a stream of memories (or, as Penfield calls it, a continuous filmstrip) preserving an individual's total experiential responses from childhood onward. The juxtaposition of Proust's statements with those of the neurosurgeon about the nature of this stream of unconscious memories, their relation to conscious memory, and the conditions under which they are recalled throws light upon the validity of Proust's technique.

scholarly journals THE ENDERBY NOVELS BY ANTHONY BURGESS: THE ARTIST’S CONCEPT

2019 ◽  
Vol 7 (6) ◽  
pp. 81-84
Author(s):  
Ekaterina Vladimirovna Smyslova ◽  
Liliya Fuatovna Khabibullina
Keyword(s):  
Creative Process ◽  
Sexual Attraction ◽  
Fictional World ◽  
Main Condition ◽  
Artistic Creativity ◽  
Creative Processes ◽  
Anthony Burgess ◽  
Artistic Activity ◽  
Musical Works ◽  
Teachers And Students

Purpose of the study: Anthony Burgess (1917 – 1993) is an English writer, author of the intellectual novels and serious musical works. Being a talented and inventive person, he was very interested in art and its creative processes. Anthony Burgess’s artistic creativity concept can be traced in many of his works about fictional and non-fictional writers Methodology: The article uses the analysis of the fictional world created in the novels as a means of its consideration. The image of the artist is considered from the perspective of the writer's worldview reflected in the composition and the message of his works. Results: The conducted analysis shows that in Anthony Burgess’s opinion the artist is a craftsman whose artistic activity is closely connected with his sexual attraction. In addition, the writer is characterized by isolation as the main condition of the creative process and the total devotion to Art. Applications of this study: This research can be used for the universities, teachers, and students. Novelty/Originality of this study: Thus, the novelty of the paper consists in its first trial to present the artist’s image thoroughly studied in the mentioned above novels. It is worthwhile mentioning that the research is conducted according to Anthony Burgess’s creative concept.

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 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.

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.

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