scholarly journals Marcel Proust and Paul Sollier: the involuntary memory connection

2009 ◽  
Vol 160 (04) ◽  
pp. 130-136
Keyword(s):  
Marcel Proust ◽  
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.

The Philosophy Class

2020 ◽  
Vol 111 (3) ◽  
pp. 430-439
Author(s):  
Michael Wood
Keyword(s):  
Marcel Proust ◽  
The Novel ◽  
Philosophical Work ◽  
Involuntary Memory

Abstract Even as a schoolboy Marcel Proust specialized in thoughts of loss and doubt, and in À la recherche du temps perdu, he puts these thoughts to a very particular kind of philosophical work: the cultivation of epistemological (and other) errors that are certainly errors but are in some sense not entirely wrong. A noise is misinterpreted, attributed to an incorrect source, but Proust’s narrator, while scrupulously revising the perception, allows his first take a sort of magical afterlife. This effect is subtly developed in the last volume of the novel, where the narrator completes the experiences of involuntary memory that ground his whole theory of regained time—and also has experiences that contradict the theory, that show time to be ever-elapsing, impossible to regain. He doesn’t endorse the contradiction, and he doesn’t give up his theory. But he doesn’t erase the contradiction either.

scholarly journals The geometry of artistic space in the works by Valentin Louis Georges Eugène Marcel Proust

2021 ◽  
Vol 27 (3) ◽  
pp. 165-169
Author(s):  
Alexander N. Taganov
Keyword(s):  
Marcel Proust ◽  
Fourth Dimension ◽  
Main Role ◽  
The Novel ◽  
Involuntary Memory ◽  
Structural Organisation ◽  
Principle Of Relativity ◽  
Special Geometry ◽  
French Writer ◽  
Temporal Moments

The article considers the peculiarities of the artistic system in the works by the French writer of the turn of the 19th–20th centuries, VLGE Marcel Proust. The foundations of his aesthetic views, which are manifested primarily at the level of the structural organisation in the novel cycle “In Search of Lost Timeˮ are studied. The specificity of the narrative, where the main role is played by involuntary memory, allows us to speak about the special geometry of the artistic space in this work. It happens due to Proust's rejection of “plane psychologyˮ in favour of “psychology in time”. It is shown how on such a basis, thanks to the mnemonic mechanism, a complex connection of spontaneously arising spatial fragments with the temporal moments of existence arises and the chronotopic structure of the novel, built on the principle of relativity, is constructed where time becomes, in fact, the fourth dimension of space.

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.

The Many Voices of Lydia Davis

2016 ◽  
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.

Judaism and Heterogeneity in the Modernist Long Novel

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.

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.

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