scholarly journals Les Soixante-quinze Feuillets de Marcel Proust ou la fabrique du masque

Cahiers ERTA ◽  
2021 ◽  
pp. 140-160
Author(s):  
Anne-Aël Ropars
Keyword(s):  
Genetic Study ◽  
Marcel Proust ◽  
Fictional World ◽  
Preliminary Version ◽  
Lost Time ◽  
The Way

Les Soixante-quinze Feuillets by Marcel Proust or the production of the mask In Search of Lost Time, the narrator is not the writer, and we can find out several models behind one character. In other words, Proust created a mask he put on reality to avoid criticism and problems with his family, but also to look for the essence of beings and things by focusing the truth. Pseudonyms are not a game but a real poetic of the Name. The recent publication of his Soixante-quinze Feuillets (Gallimard, 2021) shows how Proust transformed his autobiography into a fictional world. That preliminary version exposes the methods he used to hide himself and the way he was experimenting the powers of the imagination and composition. It is the writer’s laboratory, an important source for genetic study of Proust’s masterpiece.

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 The reality of fiction in a literary world: on an excerpt from Stanisław Lem’s Solaris

2020 ◽  
Vol 11 (1) ◽  
pp. 101-107
Author(s):  
Y. Domanskii
Keyword(s):  
Physical Reality ◽  
Literary Text ◽  
Higher Order ◽  
Fictional World ◽  
Actual Reality ◽  
The World ◽  
The Way

Using an excerpt from Stanisław Lem’s Solaris, this article explores the idea that, in a literary text, a fictional world and the world of physical reality may interact to form such a reality that can paradoxically turn out to be more real than what we believe to be the actual reality. It is also shown that the fictional world realized in a literary text may bring the reader to certain conclusions about the world in which he or she lives. Thus, even if literature is in­capable of affecting reality, it can change the way the latter is perceived. A fictional world is not just a reality — it is a reality of a higher order.

HOUSMAN'S SPECTRAL SHROPSHIRE

2015 ◽  
Vol 43 (4) ◽  
pp. 857-873
Author(s):  
Mihail Evans
Keyword(s):  
Jacques Derrida ◽  
Fictional World ◽  
Late Work ◽  
The Subject ◽  
The Dead ◽  
The Way

The fictional setting of the “Shropshire” of A. E. Housman's A Shropshire Lad (1894) is well known. He himself admitted to hardly having visited the county before the publication of his cycle of poems and the topography of the county in verse and actuality are often two different things. For instance, Hughley, whose steeple in the poems is a “far-known sign,” as Housman's brother Laurence discovered on a post-publication visit, is located in a valley and the remarkable spire turns out to be squat rather than soaring (Burnett, Letters 1: 90). The particular form of unreality that will be the subject of this paper is not, however, the physical backdrop of Housman's poems, imaginary or otherwise. Rather I would like to focus on the way in which the imaginative universe of Housman is populated by figures who challenge our assumptions about the boundary between the realms of the living and the dead. We might say that I will be concerned not with the epistemology of Housman's Shropshire but with its ontology, or perhaps, to use a term of Derrida's, with its “hauntology” (Specters 10, 51, 161). Indeed, my suggestion will be that far from being an untrue or fictional world, the phantasmal figures of Housman's Shropshire articulate that reality that is named, in the late work of Jacques Derrida, as the spectral. My essay will elaborate the question of the spectral as an interplay between the poems of Housman and the philosophical meditations of Derrida.

Negation in discourse: a text world approach to Joseph Heller’s Catch-22

2000 ◽  
Vol 9 (3) ◽  
pp. 215-239 ◽  
Author(s):  
Laura Hidalgo-Downing
Keyword(s):  
Common Ground ◽  
The Novel ◽  
Fictional World ◽  
Discourse Function ◽  
Joseph Heller ◽  
Form Part ◽  
The Common ◽  
Catch 22 ◽  
Flow Of Information ◽  
The Way

This article presents a discourse-based approach to negation by applying text world theory to the analysis of negation in the novel Catch-22, by Joseph Heller (1986 [1961]), The model developed for the analysis of negation is based on Werth’s (1999) notion of negation as a subworld which modifies information which is present in the common ground of the discourse. By so doing, negation contributes to the general discourse function of updating information in the text world. Additionally, negation may form part of contradictory structures which, being self-contained units, do not contribute to the updating discourse function but, rather, seem to block the flow of information. The analysis of the functions of negation is framed within a broader framework of stylistic analysis, where the objective is to discuss how the foregrounded nature of negation as a recursive feature in Catch-22 may have a defamiliarizing effect. The argument put forward in this article is that negation plays a crucial role in the expression of a conflict between what is presented as real and what is presented as not real in the fictional world; this conflict, in its turn, has important consequences for the way the story develops and the way major themes of the novel are treated.

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 Vieillissement et oubli : contretemps de la (bonne) traduction (avec Walter Benjamin e Marcel Proust)

Translationes ◽  
2018 ◽  
Vol 10 (1) ◽  
pp. 45-57
Author(s):  
Marcelo Jacques de Moraes
Keyword(s):  
Walter Benjamin ◽  
Marcel Proust ◽  
The Way

Abstract Starting from Walter Benjamin’s reflections on the work of Marcel Proust, we intend to go back to the way they allow us to think the relations between literature and translation, the “life connections” between them. We aim to speculate more specifically on the productive dimension of aging and oblivion taken as critical setbacks, that are natural to every work - original or translation-, and that predestine, necessarily and inexorably, within the “internal forest” of each of the languages involved and the border between them, to incompleteness and “continued life”.

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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