L'école japonaise de recherches sur la littérature française : le cas de Marcel Proust

2001 ◽  
Vol 53 (1) ◽  
pp. 47-59
Author(s):  
Jo Yoshida
2021 ◽  
pp. 31-44
Author(s):  
Alexandre Taganov

La correspondance de Marina Tsvetaeva évoque, quoique rarement, le nom de Proust. En outre, les biographes de Tsvetaeva témoignent qu’elle connaissait l’œuvre de l’écrivain français et s’y intéressait vraiment. Enfin, il existe aussi des tentatives d’analyse comparative et typologique des œuvres de Tsvetaeva et de Proust. L’impression d’apparition inattendue du nom de Proust dans la prose et la critique de Tsvetaeva se renforce encore par le fait qu’elle avait, surtout dans les années 1930, une attitude fort complexe à l’égard de la littérature française. L’image tsvetaevienne, comme l’image proustienne, est une grandeur qui dure, dont l’origine est dans l’enfance et qui ensuite de façon fantasque se projette dans le futur à travers le présent, porte en soi « le temps perdu » et lui donne une vie nouvelle.


2021 ◽  
Vol 15 (1) ◽  
pp. 156-165
Author(s):  
Marc Smeets ◽  
Mingus Niesten

Critique littéraire, écrivain, essayiste, photographe, Martin de Haan est aussi, et avant tout, ambas­sa­­deur de la traduction littéraire. Tout au long de sa carrière, il n’a cessé de souligner le rôle essentiel du traducteur qui, selon lui, a longtemps été négligé par la politique culturelle et éditoriale. Il a traduit une quarantaine d’ouvrages de littérature française en néerlandais. Figurent dans sa bibliographie, outre la traduction quasiment intégrale de l’œuvre de Michel Houellebecq et de Milan Kundera, les noms d’entre autres Pierre Choderlos de Laclos, Benjamin Constant, Vivant Denon, Denis Diderot, Jean Échenoz, Marcel Proust et Joris-Karl Huysmans. C’est dire que les classiques français sont dans le collimateur de ce lauréat du prix Elly Jaffé 2018 (prix triennal de la meilleure traduction en néerlandais d’une œuvre franco­phone).


Author(s):  
Jonathan Evans

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.


2015 ◽  
Vol 10 (3) ◽  
pp. 357-379
Author(s):  
Jeremy Tambling

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.


Author(s):  
Larisa Botnari

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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