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Proust and Speech Matthew Trumbo-Tual Submitted in Partial Proust and Speech Matthew Trumbo-Tual Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Matthew Trumbo-Tual All rights reserved ABSTRACT Proust and Speech Matthew Trumbo-Tual This dissertation examines how Marcel Proust presents and uses different speech styles in A la recherche du temps perdu. The narrator of the novel analyzes how almost everyone he encounters speaks and consistently bases his decisions about how to interact with others on his evaluation of their speech mannerisms. I argue that, through the narrator’s observations, Proust emphasizes the role of the socioindexicality of speech, or how the way a person speaks communicates their social identity, in mediating social relations. I begin by presenting the narrator’s comments on how social status is interpreted through the way that people speak. Then I turn in the second chapter to how the narrator’s understanding of what factors determine a person’s speech mannerisms changes over the course of his life. The third chapter argues that the narrator has a sustained interest in how people use speech to perform different identities and shows how his investigation into the reasons these performances succeed or fail informs Proust’s own technique of using different speech styles to create fictional characters in his novel. The last chapter discusses how Proust’s Jewish and gay characters adapt how they speak to avoid or overcome discrimination. In each of these chapters, I show how, in A la recherche, the way social identity is interpreted and performed through speech causes individuals to take on different identities. I argue that, through the narrator’s comments on this phenomenon, Proust demonstrates how it affects the structure of society while also studying the way it can be used to create fictional characters in a novel. TABLE OF CONTENTS Acknowledgements................................................................................................ iii Dedication.............................................................................................................. iv Introduction..............................................................................................................1 Chapter 1: Speech and the Perception of Social Status I. Swann’s Voice........................................................................................32 II. Speech and the Refraction of Social Identity........................................41 III. The Perception of Speech and the Reorganization of Society.............49 IV. Error and Linguistic Change................................................................54 V. Pleasure and the Dramatic Reversal of Social Identity.........................64 Chapter 2: The Social Kaleidoscope and the Kinetoscope of Speech I. The Kaleidoscope and the Kinetoscope .................................................73 II. Social Disorientation.............................................................................79 III. The Sociology of Combray..................................................................86 IV. The Sociolinguistics of Balbec ............................................................96 V. The Two Laws of Language ...............................................................102 VI. Changes in Albertine’s Speech..........................................................119 VII. Intelligence and Crossing Social and Linguistic Boundaries...........124 Chapter 3: Speech and Imposture I. Pleasing Charlus ...................................................................................129 IIa. The desire to be admired ...................................................................133 IIb. Oral Fetishes......................................................................................140 i III. Bad Acting .........................................................................................152 IV. Imposture and the Novel....................................................................163 Chapter 4: Speech and Discrimination I. The Limits of Assimilation...................................................................174 II. Bloch’s Semiotic Apprenticeship........................................................181 III. Charlus, Hiding in Plain Sight ...........................................................195 IV. The Limits of Performance................................................................208 Conclusion ...........................................................................................................213 Bibliography ........................................................................................................215 ii ACKNOWLEDGEMENTS I was very fortunate to have three professors at Columbia University, Elisabeth Ladenson, Emmanuelle Saada, and Antoine Compagnon who read through, in some instances, multiple drafts of each chapter of this dissertation. Their comments and suggestions have shaped and improved this work tremendously, and I am very grateful for the time, consideration, and knowledge that they contributed to my project. I have also benefitted from conversations with Peter Connor of Barnard College and Rita Felski of the University of Virginia, who have offered me their guidance and encouragement over the years. The wonderful Benita Dace, Meritza Moss, and Isabelle Chagnon helped me navigate the administrative side of completing my doctorate. And, finally, this dissertation would not have been possible without my parents, Anne Trumbo and Erick Tual, and my partner, Kathleen Hall, who supported me as I wrote it. iii To my parents iv Introduction When I began reading A la recherche du temps perdu, I did not have a clear notion of what to expect from the novel. I knew that I would have to spend several hours a day over the course of a semester meandering through opulent tangential musings and that the novel had a very wealthy narrator. Since I was reading A la recherche for a course with Elisabeth Ladenson at Columbia University, I also knew that I would have to write a term paper on the novel at the end of the semester. I was not predisposed to like or dislike the novel, and thought of it as a curio, albeit one that I had heard was of great importance to the development of the French novel, and that I was now required to read out of academic necessity. As I slowly worked my way through Du côté de chez Swann, I noticed that the narrator spends a great deal of time commenting on how the people he encounters speak. I began to underline the passages in which the narrator discusses how people speak and was quickly overwhelmed by their number and volume. It seemed curious to me that the narrator of A la recherche analyzes what can be determined about someone’s personality or social identity from their speech at such length, often dedicating far more space to his appraisal of how people speak than to his account of what they say. Thanks to the rediscovery of Mikhail Bakhtin’s works in the 1960s, today’s literary scholars are accustomed to thinking of the novel as a genre characterized by heteroglossia, or the inclusion of many different styles of language in a single text. For Bakhtin, “the novel can be defined as a diversity of social speech types (sometimes even 1 diversity of languages) and a diversity of individual voices, artistically organized.”1 Of course, heteroglossia is not exclusive to the novel as a genre; we can find it in countless works belonging to different genres, from Plato’s dialogues to, if we are to believe Claude Lévi-Strauss, the stories told by the Tupi-Kawahib, an indigenous people of Brazil: C’était au début de la nuit, quand chacun profite des dernières heures du feu de campement pour se préparer au sommeil. Le chef Taperahi était déjà étendu dans son hamac; il commença à chanter d’une voix lointaine et hésitante qui semblait à peine lui appartenir. Immédiatement, deux hommes (Walera et Kamini) vinrent s’accroupir à ses pieds pendant qu’un frisson d’excitation traversait le petit groupe. Walera lança quelques appels; le chant du chef se précisa, sa voix s’affermit. Et tout à coup, je compris à quoi j’assistais: Taperahi était en train de jouer une pièce de théâtre, ou plus exactement une opérette, avec mélange de chant et de texte parlé. A lui seul, il incarnait une douzaine de personnages. Mais chacun était distingué par un ton de voix spécial: perçant, en fausset, guttural, en bourdon.2 Any work of fiction whose creator, like Taperahi in his one man show, draws on different styles of language to give substance to different characters contains an element of heteroglossia. Heteroglossia, then, can be found in all genres, periods, and cultures. It is one of the chief, and yet often underappreciated, attractions of fiction for many people who come to literature in search of contact with different styles of language, whether exotic or familiar. As Lévi-Strauss very succinctly puts it, “Qui dit homme dit langage, et 1 Bakhtin, The Dialogic Imagination, 262. 2 Lévi-Strauss, 430. 2 qui dit langage dit société”3 – language is so intimately linked to people and the societies in which they live that to invoke one is to necessarily invoke all three. Playing on the strength of these associations, many works of fiction use different styles of language to give us the impression of being in the presence of specific, distinct individuals and of entering into their social space, or the social networks and relations that structure
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