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Sobre a leitura de A la recherche du temps perdu / On reading A la recherche du temps perduSamira Murad 25 June 2012 (has links)
Seguindo uma pista lançada pelo próprio Proust num texto crítico sobre a leitura, a crítica proustiana vem dedicando bastante espaço à compreensão deste tema na Recherche. Em geral, essa compreensão tem sido levada a cabo por meio da análise das figurações da leitura no romance de modo a construir o posicionamento teórico do escritor sobre a leitura que, por sua vez, funcionaria como modelo para a leitura da própria Recherche. Entretanto, essas análises apontam para incoerências e contradições que potencialmente poderiam invalidar seu caráter de modelo. Revisitando algumas das interpretações críticas bem como o próprio ensaio de Proust sobre a questão, esta tese defende que a compreensão da leitura da Recherche vai além da discussão da figuração do tema no texto. Para isso, propõe a análise do papel do leitor dimensão textual virtual que comporta diversas operações interpretativas potenciais. Controladas pela organização do texto, isto é, por sua disposição arquitetônica, em seus mais diversos planos, essas operações, uma vez percebidas pelos leitores (o que não se deu imediatamente na história da recepção da Recherche) sustentam essas leituras (críticas ou não) de modo que podem ser vistas como a base ou as condições de possibilidade de toda e qualquer interpretação. / Following the clue given by Proust himself on his essay on reading, recently, proustian critics have been paying a lot of attention to this theme in A la Recherche. In general, these interpretations analyse the figurations of reading in the text which, in turn, is used as a model for the reading of Prousts text. However, many of these analyses point out to incoherencies in Prousts theoretical discourse which can invalidate its status as a model for the reader. Revisiting some of the analyses on the topic and Prousts own essay On reading, this thesis tries to indicate that the understanding of the subject of reading should move beyond the discussion of its figuration in the text. In order to do that, we propose an analysis of the role of the reader a virtual textual dimension formed by the interpretive operations designed by the text itself. Controlled by the organization of the materials that form the text, these operations, once perceived by the reader, support many of the critical readings of Prousts text and so, they are, as it seems, the foundations for most of the readings of A la Recherche.
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The critical figure : negativity in selected works by Proust, Joyce and Beckett / William David WatsonWatson, William David January 2000 (has links)
This dissertation represents an interpretation of the different forms of negativity in the modernist work that can be understood in terms of that which is unsaid, unsayable, or any other means of refusing to give an affirmative proposition regarding the world the work describes. It explores this negativity as both a representation of that which cannot be represented, and as an operational negativity, or negation, that takes part in the unmaking of the work's figures. The function of this negativity, as interpreted in Marcel Proust's Remembrance of Things Past (1913-1927), James Joyce's Ulysses (1922) and Krapp's Last Tape (1959) by Samuel Beckett, is to rewrite the representations of the work. Negativity is then also understood as a transformation and conditioning of elements already present in the literary work, that lead to ambivalent and problematic representations in the work. In this sense, negativity can be understood as a form of rewriting of the work's representations. The interpretations of the works of Proust, Joyce and Beckett are guided by this understanding, as given in the introduction, of negativity. In the analysis of Proust's novel, in "The Unmaking of Proust: Negation and Errors in Remembrance of Things Past", this form of negativity is situated in relation to Proust's handling of epistemological questions and mimetic references to reality in his work. The analysis of Joyce's work in "The Wandering of Language in James Joyce's Ulysses" discusses his treatment of language and the origins of language as being characterized by a negation that increases the difficulty of the language, and attempts to negate its origins. Finally, in the analysis of Beckett's "Krapp's Last Tape", in "Beckett, Proust, and the End of Literature", it is shown that negativity conditions both the reception of the influence of Proust by Beckett, and the play's attempt to suggest the end of writing. In conclusion the dissertation returns to the idea of negativity as a form of rewriting, and briefly indicates that the function of negativity in these novels can be understood as a form of invention. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2000.
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The critical figure : negativity in selected works by Proust, Joyce and Beckett / William David WatsonWatson, William David January 2000 (has links)
This dissertation represents an interpretation of the different forms of negativity in the modernist work that can be understood in terms of that which is unsaid, unsayable, or any other means of refusing to give an affirmative proposition regarding the world the work describes. It explores this negativity as both a representation of that which cannot be represented, and as an operational negativity, or negation, that takes part in the unmaking of the work's figures. The function of this negativity, as interpreted in Marcel Proust's Remembrance of Things Past (1913-1927), James Joyce's Ulysses (1922) and Krapp's Last Tape (1959) by Samuel Beckett, is to rewrite the representations of the work. Negativity is then also understood as a transformation and conditioning of elements already present in the literary work, that lead to ambivalent and problematic representations in the work. In this sense, negativity can be understood as a form of rewriting of the work's representations. The interpretations of the works of Proust, Joyce and Beckett are guided by this understanding, as given in the introduction, of negativity. In the analysis of Proust's novel, in "The Unmaking of Proust: Negation and Errors in Remembrance of Things Past", this form of negativity is situated in relation to Proust's handling of epistemological questions and mimetic references to reality in his work. The analysis of Joyce's work in "The Wandering of Language in James Joyce's Ulysses" discusses his treatment of language and the origins of language as being characterized by a negation that increases the difficulty of the language, and attempts to negate its origins. Finally, in the analysis of Beckett's "Krapp's Last Tape", in "Beckett, Proust, and the End of Literature", it is shown that negativity conditions both the reception of the influence of Proust by Beckett, and the play's attempt to suggest the end of writing. In conclusion the dissertation returns to the idea of negativity as a form of rewriting, and briefly indicates that the function of negativity in these novels can be understood as a form of invention. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2000.
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Proust se geheuekonsep in Dutilleux se sonate vir hobo en klavier (1947) / Bernarda SwartSwart, Bernarda January 2006 (has links)
The French composer Henri Dutilleux (born 1916) was largely influenced by the
French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu.
This monumental work is regarded by many critics as one of the most important
novels of all times. The narrator, a parallel figure of Proust himself, experiences
an involuntary memory of his childhood. An involuntary memory which is aroused
in the narrator runs like a thread through the novel.
This study traces how Dutilleux's style of writing was influenced by the concept of
memory. Proust's concept of involuntary memory is realised in the sonata
through "musical beacons". Dutilleux's composition techniques which relate to
the concept of memory involve the following markers:
• mirror images such as fan-like or melismatic figures
• prominence of the tritone
• focal notes or chords
• principle of circularity
• obsessional chords.
A related aspect of Proust's concept of memory is the instability and
inconsistency of the human personality as it is portrayed in his novel. In this
study it is indicated how Dutilleux's croissance progressive composition
technique may be likened to the inconsistency of personalities. It involves the
concept of thematic evolutions which usually permutate from a core cell. This
technique is characteristic of his adult work, and he applied it consciously for the
first time in his First Symphony (1951). However, he acknowledges that he had
used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano
(1947) is an early work which was written during his student years for competition
purposes. He does not regard the sonata as representative of his adult writing
style. Thematic permutations of a core cell in the first movement are indicated in
all three movements of the work. The analysis of musical thematic structure
shows that aspects of Dutilleux's adult writing style were already present in his
early work. / Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.
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Médiations et co-construction du patrimoine littéraire de Marcel Proust : la Maison de Tante Léonie et ses visiteursGuzowski-Saurier, Delphine 08 December 2003 (has links) (PDF)
La plupart des analyses actuelles et averties de la notion de public s'intéressent à la diversité des modalités de construction de la catégorie désignée comme public. Elles tentent ainsi de s'écarter à la fois de la vision schématique d'un public assimilé à un groupe anomique et amorphe de récepteurs, et de celle de publics démultipliés à l'infini et jouissant d'une importante liberté. Aussi, ces recherches offrent un nouvel espace d'interrogations : entre structures et individualités, existe-il une (des) réalité(s) de la notion de public ? Et que recouvre(nt)-t-elle(s) ? Cette thèse traite de la question du public du patrimoine en envisageant la (les) forme(s) d'espace public que recouvre la maison de vacances de Marcel Proust : la Maison de Tante Léonie (Illiers-Combray, Eure et Loir). L'hypothèse qui sous-tend ce travail est l'existence d'un visiteur co-constructeur. Le patrimoine suscite une production de sens par une diversité d'acteurs (professionnels, pouvoirs publics, visiteurs, etc. ), ces significations contribuant, par adjonction et/ou conjonction, à façonner la symbolique du patrimoine. L'analyse des entretiens effectués auprès des visiteurs de trois sites (la Maison de tante Léonie, l'exposition Marcel Proust à la BnF en 1999 et le Musée Curie) a permis de mettre à l'épreuve cette hypothèse principale, en proposant une méthodologie originale combinant mondes de référence et critères de jugement. Des figures de visiteurs ont été dégagées et ne correspondent plus au public fort du schéma binaire proposé dans le cadre des recherches portant sur la télévision, et qui l'opposerait à un média fort. L'opposition fait place à une co-construction. En outre, les méandres des médiations (A. Hennion, 1993) mises en évidence, en faisant apparaître une forme de mutualité qui lie visiteurs, professionnels et objet patrimonial, font émerger des réalités de sujets et d'objets à la fois co-constructeurs et co-construits.
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Proust se geheuekonsep in Dutilleux se sonate vir hobo en klavier (1947) / Bernarda SwartSwart, Bernarda January 2006 (has links)
The French composer Henri Dutilleux (born 1916) was largely influenced by the
French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu.
This monumental work is regarded by many critics as one of the most important
novels of all times. The narrator, a parallel figure of Proust himself, experiences
an involuntary memory of his childhood. An involuntary memory which is aroused
in the narrator runs like a thread through the novel.
This study traces how Dutilleux's style of writing was influenced by the concept of
memory. Proust's concept of involuntary memory is realised in the sonata
through "musical beacons". Dutilleux's composition techniques which relate to
the concept of memory involve the following markers:
• mirror images such as fan-like or melismatic figures
• prominence of the tritone
• focal notes or chords
• principle of circularity
• obsessional chords.
A related aspect of Proust's concept of memory is the instability and
inconsistency of the human personality as it is portrayed in his novel. In this
study it is indicated how Dutilleux's croissance progressive composition
technique may be likened to the inconsistency of personalities. It involves the
concept of thematic evolutions which usually permutate from a core cell. This
technique is characteristic of his adult work, and he applied it consciously for the
first time in his First Symphony (1951). However, he acknowledges that he had
used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano
(1947) is an early work which was written during his student years for competition
purposes. He does not regard the sonata as representative of his adult writing
style. Thematic permutations of a core cell in the first movement are indicated in
all three movements of the work. The analysis of musical thematic structure
shows that aspects of Dutilleux's adult writing style were already present in his
early work. / Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.
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Performance e fotografia: um estudo sobre memória, signo e escritura na obra em busca do tempo perdido, de Marcel Proust / Performance and photography: a study of memory, sign and writing in work in search of lost time, Marcel ProustDallago, Saulo Germano Sales 22 June 2012 (has links)
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Previous issue date: 2012-06-22 / This work seeks to insert itself into the field of interart studies, searching the reference book
“In Search of Lost Time”, the French novelist Marcel Proust, the presence of elements that
denote a literary text to the underlying performance, establishing performance this intimate
connection using the photographic element, through its catalytic power of memories,
revealing details, and inspiring artistic procedures. From proustian passages selected from the
text, the attempt is to demonstrate the trajectory of the concomitant appearance of
photographic art and the literary narrative, the reception of photography, different views on
the photographic document, a semiotics of photography and finally the relationship between
photography and memory. Subsequently, we relate the photograph and its memoir side with
the studies on performance, seeking a conception of artistic procedures listed on this
nomenclature, besides those who go beyond the purely aesthetic, seeking the particularities of
the protograph and a probably performativity possible arising of contact and using the same.
In the empirical chapters of the work, we will start making a brief analysis of the life and
word of French writer, where photography has played a prominent role, selecting from their
work cited passages that corroborate these theories in search of a performativity that connect
to the photographic document in the development of artistic signs and manifestations of
involuntary memory, powerful memoir feature throughout his narrative. The concept of
writing, Jacques Derrida (2009), will base the discussion on a possible author of the
performativity involves the use of photographs, which goes for writing, in addition, we also
own writing as performance, causing effects that reverberatewithin the artwork itself, taking
as the impact of photographic artifact, generating compositional principles that guide the
entire operation of composition of the book “In Search of Lost Time.” / Esta tese procura inserir-se no campo de estudos interartísticos, buscando na referência da
obra Em busca do tempo perdido, do romancista francês Marcel Proust, a presença de
elementos que denotem uma performance subjacente ao texto literário, performance esta que
estabelece ligação íntima com a utilização do elemento fotográfico, por meio de seu poder
catalisador de memórias, revelador de minuciosidades e inspirador de procedimentos
artísticos. A partir de passagens retiradas do texto proustiano, a tentativa foi a de demonstrar a
trajetória do aparecimento da arte fotográfica concomitante à narrativa literária, à recepção da
fotografia, às diferentes visões sobre o documento fotográfico, à uma semiótica da fotografia
e, finalmente, às relações entre fotografia e memória. Posteriormente, relacionei a fotografia e
seu viés memorialístico com os estudos sobre performance, buscando uma conceituação de
procedimentos artísticos elencados sobre esta nomenclatura, além daqueles que extrapolam o
âmbito puramente estético, buscando as particularidades performáticas da fotografia e uma
possível performatividade advinda do contato e utilização da mesma. Nos primeiros capítulos
fiz ma breve análise entre a vida do escritor francês e sua obra, nas quais a fotografia
desempenhou papel de destaque, selecionando a partir de Em busca do tempo perdido trechos
que corroborem estas teorias, na busca de uma performatividade que se ligue ao documento
fotográfico na elaboração de signos artísticos e nas manifestações da memória involuntária,
poderoso recurso memorialístico ao longo de sua narrativa. O conceito de escritura, de
Jacques Derrida embasou a discussão sobre uma possível performatividade do autor, ligada à
utilização de fotografias, que caminha para a escrita. Além disso, abordo também a própria
escrita enquanto performance que provoca efeitos que reverberam no interior da própria obra
de arte, tendo como eixo o impacto do artefato fotográfico, gerando princípios compositivos
que norteiam toda operação de composição do romance Em busca do tempo perdido.
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Le Cahier 46 de Marcel Proust : transcription et interprétationAndré, Julie 19 May 2009 (has links) (PDF)
Le Cahier 46 de Marcel Proust est un cahier particulièrement important dans la genèse du roman proustien. Écrit principalement dans les années 1914 et 1915, il est un cahier de transition entre le roman d'avant-guerre et le roman tel qu'il sera publié après la guerre. Cette étude du Cahier 46 [volume I] qui s'appuie sur une transcription diplomatique intégrale du Cahier [volume II] est à la fois génétique et littéraire. Elle entend montrer que ce cahier est au cœur des bouleversements du roman, le lieu de naissance de cette prolifération interne qui a fait d'un roman en trois volumes un roman fleuve, le lieu aussi où l'on assiste à la métamorphose d'Albertine. Non seulement elle occupe une place de plus en plus importante dans l'œuvre mais surtout elle change de nature. D'une fille dont le héros " s'amourache " [Cahier 13, folio 28 r°], elle devient un personnage au destin tragique, nœud d'une histoire sans cesse réécrite qui permet de relier les grands thèmes du roman - la mort, la culpabilité, Gomorrhe et l'homosexualité - et de relire les relations du héros avec les personnages de la mère et de la grand-mère. L'analyse génétique du Cahier 46, écrit dans ce moment de crise, permet de poser quelques grands principes et de proposer une analyse précise de la pratique du brouillon de Proust ainsi que de mettre en évidence la réorganisation du roman à partir de l'année 1913 qui signe l'apparition d'Albertine. Ces éléments conduisent à une interprétation littéraire de cette métamorphose du roman sous la pression du personnage : le passage d'un roman des filles à un roman d'Albertine.
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Sadisme filial et vocation littéraire chez Marcel ProustBégin Marchand, Jasmine 02 1900 (has links)
Dans la Recherche du temps perdu, toute relation filiale est une relation où le fils fait inévitablement souffrir sa mère en commettant, selon Proust, une forme de parricide. La lecture des œuvres pré-Recherche de l’auteur, telles la nouvelle « La confession d’une jeune fille » et l’article « Sentiments filiaux d’un parricide » permettent de comprendre cette relation ambigüe, au cœur de laquelle se trouve l’amour incommensurable que ressent le fils pour le parent, un amour si intense qu’il en est étouffant. Dans ces conditions, le parent en vient à symboliser aux yeux de l’enfant la Loi contre laquelle il doit se rebeller à coup de gestes de cruauté. Le fils, s’il est de ceux qui peuvent soutenir la vue de leurs crimes, entre alors dans un cercle vicieux : par sa cruauté, il tue – symboliquement ou réellement – le parent aimé et il en jouit. Suite à ce sadisme, il ressent une insupportable culpabilité qui le mène à une dévotion masochiste encore plus grande pour son parent. Or, par le personnage du narrateur de la Recherche du temps perdu, Proust démontre que la seule manière de se libérer de cette douloureuse culpabilité, c’est l’Art. Le crime ultime qu’est la création excuse les actes de cruauté antérieurs et les justifie même. C’est la seule manière de transformer la souffrance vécue (issue entre autres de la culpabilité d’avoir pris plaisir à faire souffrir un parent aimé) en idées universelles, en œuvre d’art. / In A la recherche du temps perdu, every filial relationship is one where the son inevitably causes his mother suffering by committing, according to Proust, a form of parricide. The writings of Marcel Proust before la Recherche, such as the short story “A young girl’s confession” and the newspaper article “Filial sentiments of a parricide”, allow us to understand this ambiguous relationship, at the heart of which we can find the unmeasured love that the son feels for his parent, a love so intense that it soon becomes suffocating. Under these conditions, the parent comes to symbolize to the child “the moral Law” against which he must rebel, choosing cruelty as his weapon. The son, if he is one of those who can stand the sight of their own crimes, enters then in a vicious cycle: with his daily acts of cruelty, he kills – symbolically or in genuinely – the beloved parent, and he enjoys it. Following this act of sadism, he feels an unbearable guilt that leads him to an even greater masochistic devotion for his parent. Yet, through the character of the narrator of la Recherche, Proust demonstrates that there is indeed one way to free oneself from this painful guilt, and it is through Art. Creation, the ultimate crime, excuses and even justifies any previous acts of cruelty. It is the only way of transforming suffering (resulting among other things, from the guilt of having enjoyed causing a beloved parent any kind of suffering) into universal ideas, into art.
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Mémoire et oubli de Baudelaire dans l'oeuvre de Proust / Baudelaire : Remembered and Forgotten in ProustVernet, Matthieu 23 November 2013 (has links)
Proust est un lecteur régulier et exigeant de Baudelaire, auquel il consacre des pages critiques qui ont compté dans la réception du poète au cours du XXe siècle. Toutefois, les liens qui unissent les deux auteurs sont loin de se réduire à cette dimension métatextuelle et permettent d’interroger plus avant la notion même d’intertextualité. La principale difficulté dans l’identification de la présence de Baudelaire tient à son côté diffus qui s’inscrit dans les linéaments de l’écriture. Loin d’être explicites, les renvois à l’œuvre du poète se font au mieux sur le mode de l’allusion, sinon au gré d’un filtrage intertextuel et culturel qui gomme presque totalement les traces de ce souvenir. Nous proposons de revenir à une définition de l’intertextualité entendue dans un sens large, associant l’étude du texte à l’histoire et à l’anthropologie culturelles, soulignant ainsi que l’écriture est autant mémoire qu’oubli, et, partant, que la mémoire du lecteur n’est pas moins ambivalente. Atteindre le Baudelaire de Proust suppose ainsi de comprendre quelle idée le romancier se faisait du poète, mais aussi par quelles médiations l’œuvre de Baudelaire, passée au filtre des sensations de Proust, de son histoire, de son époque s’est imprimée dans la Recherche. En d’autres termes, il convient tout à la fois d’établir la sociologie d’une lecture et celle d’un lecteur.Apparaissent ainsi deux Baudelaire : l’un est explicite et rapidement usée par la conversation et l’autre innerve la Recherche. On voit qu’un Baudelaire chasse l’autre, et que les réseaux intertextuels ne peuvent être que souterrains. L’œuvre de Baudelaire chez Proust est ainsi lue au prisme de la mémoire et de l’oubli. / A voracious and meticulous reader of Baudelaire, Proust’s non-fiction writing pays substantial attention to the poet, in criticism which would influence the reception of Baudelaire’s work throughout the twentieth century.However, the imbrication of these two writers extends far beyond the issue of metatextuality. Rather, by highlighting the pervasive presence of Baudelaire in Proust’s oeuvre, the object of scrutiny becomes the very notion of intertextuality itself. The challenge of identifying Baudelairean references in the Recherche arises from their diffusion. Seldom explicit, Proust’s allusions to the poet’s work are subtle, if not near camouflaged by the cultural and intertextual filters. This thesis argues for a return to intertextual analysis in the broadest sense of the term, namely a study that devotes attention to the text’s historical and cultural-anthropological facets. In so doing, the thesis underlines how the act of writing involves memory as much as forgetfulness, and that the reader’s memory is as ambivalent as the author’s. But also, and more importantly, my thesis undertakes to demonstrate the ways in which Baudelaire’s poetry is transformed through the Proustian prism: that is, the narrative and mood of the Recherche, being written in a particular period, with a particular aesthetic sensibility. The social conditions of a reading, and the social determinism of a reader, are placed here in parallel. There are thus two Baudelaire in the Recherche. One is referenced explicitly in banal exchanges; the other is referenced implicitly a Baudelaire diffuse who vitalises the Recherche. And so, each Baudelaire chases the other, creating intertextual networks.
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