Univ., Diss. u.d.T.: Topping, Margaret: Christian and mythological figures of speech in the works of Marcel Proust--Oxford, 1998. / Literaturverz. S. [229] - 236.

Thesis advisor: Kevin Newmark / This study focuses on the intricate connection between painting and writing in A la recherche du temps perdu, the one and only novel completed by Marcel Proust. Painting and writing, although different in their methods of expression, with the former consisting of visual images and the latter consisting of words, have a fundamental objective in common which is creating images in order to reveal the real essence of life. Proust develops correspondences between paintings (that he describes verbally) and writings not only to portray his novelistic characters, but also to reinforce his aesthetics of writing. This study stresses that correspondence to which Proust gives the name of metaphor. By choosing metaphor as the most important criterion in writing the novel which the Narrator decides to undertake at the very end of la Recherche, he speaks for Proust who elevates metaphor as the central rhetorical figure of his writing. Metaphor gives to the Proustian world a sense of continuity and homogeneity despite its innate fragmentary and dispersed impressions. In the Proustian novel, memories are incomplete, and loves are sporadic. Time and space are never continuous. Yet a homogenous ensemble is brought forth from this universe in fragments. It is metaphor that gives unity to those diverse elements by abolishing the borders that separate them. The principle of metaphor brings distant elements closer. Swann’s way unites with the Guermantes’, past transposes over present. By comparing painting and writing in the Proustian novel, I am able to emphasize the author’s aesthetics, at the foundation of which lies metaphor. / Thesis (PhD) — Boston College, 2010. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Thesis (doctoral)--Université de Paris IV, 1978. / Includes indexes. Includes bibliographical references (p. 849-881).

De même que le critique est l'ombre de l'écrivain, l'oeuvre artistique est une sorte de miroir qui renvoie toutes les apparences qui s'y reflètent. C'est ainsi que A la recherche du temps perdu fait surgir à chaque nouvel examen minutieux, une nouvelle image de la réalité, et aboutit à la création d'un monde qui brave tout ce que nous connaissons ou pouvons imaginer. L'univers entier y trouve son double, et toutes les vies sont résumées dans l'aventure singulière qui est l'oeuvre de Proust. C'est comme si l'auteur, émule de l'Eternel, avait créé sa propre Genèse. [...]

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

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<p>What role does the body play in Marcel Proust's A La Recherche Du Temps Perdu? Concentrating particularly on Combray and Un Amour de Swann, the following study traces Proust's transformation of the physical body by metaphor. Because the presentation of the body is a barometer indicating both a character's conscious and subconscious thought, critical interpretation of the body is a vital part of understanding Proustian desire. In "chapter one" on the metaphors of bodily processes, the narrator's desire is discussed. Swann's love for Odette is the focus of "chapter two" on the body of desire. Finally, "chapter three" which deals with the body as "sign" in the social world, describes the problems which accompany the interpretation of the body in the text.What role does the body play in Marcel Proust's A La Recherche Du Temps Perdu? Concentrating particularly on Combray and Un Amour de Swann, the following study traces Proust's transformation of the physical body by metaphor. Because the presentation of the body is a barometer indicating both a character's conscious and subconscious thought, critical interpretation of the body is a vital part of understanding Proustian desire. In "chapter one" on the metaphors of bodily processes, the narrator's desire is discussed. Swann's love for Odette is the focus of "chapter two" on the body of desire. Finally, "chapter three" which deals with the body as "sign" in the social world, describes the problems which accompany the interpretation of the body in the text.</p> / Thesis / Master of Arts (MA)

La connaissance poétique est l’appréhension nouvelle du monde sur un mode familier. Elle apparaît à travers la subjectivation de l’objet : le sujet projette sur l’objet ce qu’il en perçoit mais aussi sa propre subjectivité ; il en forme une connaissance subjectivée. Dans la Recherche, la théorie de l’image est une théorie de la connaissance poétique du monde restituée par l’écrivain dans l’image. En mettant en relation deux objets dans l’image, Proust reproduit le rapprochement du sujet avec le monde qu’est la subjectivation. On peut ainsi distinguer les images proustiennes selon les différents « cercles familiers » qu’elles constituent. Ils expriment différentes formes de familiarité avec le monde : la parenté (pour la ressemblance), le voisinage (pour la contiguïté) et l’affinité (pour la transposition). La connaissance poétique se restitue aussi à travers l’écriture de l’image. Le style manifeste une vision plus générale du monde qui imprègne chaque subjectivation. Les images proustiennes révèlent deux esthétiques principales. L’une est baroque, fondée sur l’imagination : elle évoque l’enfance et transmet une conception de la vie joyeuse et légère. L’autre est romantique, lyrique, et montre un cœur souffrant. À travers l’image opère donc un rapprochement général (entre objet et sujet, entre les composantes de l’image, entre deux visions du monde), caractéristique de la connaissance poétique, mais aussi un rapprochement particulier entre Proust et son lecteur. L’image proustienne utilise notamment pleinement les mécanismes d’intersubjectivité de l’esprit. En rendant ainsi la connaissance poétique, l’image fait de la Recherche l’œuvre de l’intime. / Poetic knowledge is the new grasp of the world on a familiar way. It appears through the subjectification of the object: the subject projects onto the object his perception of it and also his own subjectivity; he develops a subjectified knowledge. In the Recherche, theory of image is a theory of the poetic knowledge of the world, translated by the writer in the image. By linking two objects in the image, Proust reproduces the reconciliation of the subject with the world that is subjectification. One can distinguish the Proustian images by the various "familiar circles" they constitute, which show various forms of familiarity with the world: kinship (for resemblance), neighborhood (for adjacency), and affinity (for transposition). Poetic knowledge also appears through the writing of the image. The style shows a more general worldview that permeates every subjectification. The Proustian images reveal two main aesthetics. One is baroque, based on the imagination: it evokes childhood, and transmits a joyful and carefree view of life. The other one is romantic, lyrical, and shows a suffering heart. Through the image thus operates a general reconciliation (between object and subject, between the components of the image, between two worldviews), which is a feature of poetic knowledge, but also a special connection between Proust and his reader. Especially, the Proustian image fully uses the mechanisms of intersubjectivity of the mind. By rendering poetic knowledge, the image makes of the Recherche the work of intimacy.

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