By Nigel Harkness, Marion Schmid
This quantity of essays, that is devoted to the overdue Richard Bales, one of many doyens of Proust stories, considers Proust’s pivotal function on the threshold of modernity, among 19th- and twentieth-century types of writing and pondering, among the Belle Epoque and the 1st global struggle, among culture and innovation. greater than only a temporal notion, this threshold is theorized within the quantity as a liminal area the place borders (geographical, creative, own) dissolve, the place larger probabilities for creative discussion emerge, and the place unforeseen encounters (between artists, genres and disciplines) take place.
operating either forwards and backwards from the book dates of A los angeles recherche du temps perdu (1913-27), the seventeen essays written in particular for this quantity take as their concentration Proust’s manifold engagements with the realm of modernity, in addition to intermedial relatives one of the generations of artists earlier than and instantly after him. in retrospect to the 19th century, the undisputed start line for nascent sorts of modernity in Western artwork and literature, and a interval that used to be uniquely formative for the younger Proust, in addition they provide insights into inter-artistic discussion in Surrealist and post-Surrealist portray and poetry
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Additional info for Au seuil de la modernité : Proust, literature and the arts : essays in memory of Richard Bales
Because of this, the impression made over almost a century by his pages on Dante has been largely forgotten. 79–96. Critics frequently take Carlyle to task for misremembering quotations. In Dante’s text, the expression is tremolar dell’marina. 20 Catherine O’Beirne vagues de l’océan, sous le premier pur rayon du matin, dont l’aube point au loin sur les Deux errants, est comme le type d’une humeur changée. L’aube de l’Espérance vient de poindre maintenant; de l’espérance qui jamais ne meurt, si elle est encore accompagnée de lourds chagrins.
Une telle préférence provient, j’imagine, de notre général Byronisme de goût, et paraît devoir être un sentiment transitoire. Le Purgatorio et le Paradiso, spécialement le premier, dirait-on presque, lui sont même supérieurs. C’est une noble chose que ce Purgatorio, ‘Montagne de Purification’; emblème de la plus noble conception de cet âge. Si le Pêché est si fatal, et que l’Enfer soit et doive être si rigoureux, si redoutable, pourtant, dans le Repentir aussi l’homme se purifie; le Repentir est le grand acte chrétien.
Proust’s work will of course renew these themes in its focus on art’s recuperation of ‘wasted time’. The most convincing indication of continuous dialogue with one of his greatest inf luences could be the very antithetical aspect of some Proustian motifs: the emphasis on his Narrator’s plan to work at night, as did Proust as far as we know; and the innocently decadent transposition of guiding sunrays into the ‘rayons de soleil sur un balcon’ which promise distraction with Gilberte on the Champs Elysées (RTP, i, 388–90).