Proust invertido: uma leitura avessa da Recherche e a aproximação com a melancolia a partir de Robert Burton

Benito Eduardo Maeso; Tarik Vivan Alexandre

doi:10.23925/2318-9215.2020v7n1a1

Proust invertido: uma leitura avessa da Recherche e a aproximação com a melancolia a partir de Robert Burton

PARALAXE ◽

10.23925/2318-9215.2020v7n1a1 ◽

2020 ◽

Vol 7 (1) ◽

pp. 144-158

Author(s):

Benito Eduardo Maeso ◽

Tarik Vivan Alexandre

Keyword(s):

Marcel Proust ◽

Robert Burton

O presente artigo visa investigar a problemática da melancolia a partir da conjunção entre a Recherche de Marcel Proust e Anatomia da Melancolia Robert Burton. É possível estabelecer semelhanças discursivas entre os autores, criando um paralelo entre as personagens Demócrito Júnior e Marcel, já que a investigação sobre o problema da mortalidade permeia os dois livros. Considerando que Burton não compreende a temporalidade como mortalidade, portanto, como melancolia, é possível introduzir Proust no debate uma vez que este compreende a passagem do tempo como um processo de degeneração se lido seu romance de modo invertido. Assim, os vínculos de mortalidade e perda são analisados a partir do tempo uma vez que Saturno seria o deus detentor do tempo. Pode-se concluir que Proust se relaciona com a temática da melancolia, sendo ao mesmo tempo herdeiro e criador de uma nova concepção sobre o tema com o conceito de tempo perdido.

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The Many Voices of Lydia Davis

10.3366/edinburgh/9781474400176.001.0001 ◽

2016 ◽

Cited By ~ 3

Author(s):

Jonathan Evans

Keyword(s):

Short Stories ◽

Marcel Proust ◽

Gustave Flaubert ◽

Maurice Blanchot ◽

Literary Production ◽

American Writer ◽

Michel Leiris ◽

The Many

The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker International Prize 2013, Davis writes innovative short stories that question the boundaries of the genre. She is also an important translator of French writers such as Maurice Blanchot, Michel Leiris, Marcel Proust and Gustave Flaubert. Translation and writing go hand-in-hand in Davis’s work. Through a series of readings of Davis’s major translations and her own writing, this book investigates how Davis’s translations and stories relate to each other, finding that they are inextricably interlinked. It explores how Davis uses translation - either as a compositional tool or a plot device - and other instances of rewriting in her stories, demonstrating that translation is central for understanding her prose. Understanding how Davis’s work complicates divisions between translating and other forms of writing highlights the role of translation in literary production, questioning the received perception that translation is less creative than other forms of writing.

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Shakespearean Melancholy

10.3366/edinburgh/9781474417334.001.0001 ◽

2018 ◽

Cited By ~ 1

Author(s):

J. F. Bernard

Keyword(s):

Sigmund Freud ◽

Judith Butler ◽

The Winter's Tale ◽

Twelfth Night ◽

Winter's Tale ◽

The Core ◽

Robert Burton

What’s so funny about melancholy? Iconic as Hamlet is, Shakespearean comedy showcases an extraordinary reliance on melancholy that ultimately reminds us of the porous demarcation between laughter and sorrow. This richly contextualized study of Shakespeare’s comic engagement with sadness contends that the playwright rethinks melancholy through comic theatre and, conversely, re-theorizes comedy through melancholy. In fashioning his own comic interpretation of the humour, Shakespeare distils an impressive array of philosophical discourses on the matter, from Aristotle to Robert Burton, and as a result, transforms the theoretical afterlife of both notions. The book suggests that the deceptively potent sorrow at the core of plays such as The Comedy of Errors, Twelfth Night, or The Winter’s Tale influences modern accounts of melancholia elaborated by Sigmund Freud, Judith Butler, and others. What’s so funny about melancholy in Shakespearean comedy? It might just be its reminder that, behind roaring laughter, one inevitably finds the subtle pangs of melancholy.

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Judaism and Heterogeneity in the Modernist Long Novel

Modernist Cultures ◽

10.3366/mod.2015.0119 ◽

2015 ◽

Vol 10 (3) ◽

pp. 357-379

Author(s):

Jeremy Tambling

Keyword(s):

Latin American ◽

George Eliot ◽

Marcel Proust ◽

Carlos Fuentes ◽

American Novel ◽

Dorothy Richardson ◽

Anti Semitism ◽

Dreyfus Affair ◽

Meaningful Category ◽

Roberto Bolano

This paper explores how Judaism is represented in non-Jewish writers of the nineteenth-century (outstandingly, Walter Scott and George Eliot) and in modernist long novels, such as those by Dorothy Richardson, Marcel Proust, James Joyce, Alfred Döblin, Robert Musil, and Thomas Mann, and, in the Latin American novel, Carlos Fuentes and Roberto Bolaño. It finds a relationship between the length of the ‘long’ novel, as a meaningful category in itself (not to be absorbed into other modernist narratives), and the interest that these novels have in Judaism, and in anti-semitism (e.g. in the Dreyfus affair) as something which cannot be easily assimilated into the narratives which the writers mentioned are interested in. The paper investigates the implications of this claim for reading these texts.

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

Revista Cercurilor studenţeşti ale Departamentului de Limba şi Literatura Franceză ◽

10.31178/rcsdllf.9.3 ◽

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.

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