What Happens in Proust
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Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam
‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8). -
The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it. -
Pynchon Nods: Proust in Gravity's Rainbow Date: 2012 Volume: 1 Issue: 1 URL: DOI: 10.7766/Orbit.V1.1.30
Orbit: Writing Around Pynchon https://www.pynchon.net ISSN: 2044-4095 Author(s): Erik Ketzan Affiliation(s): Institut für Deutsche Sprache, Mannheim, Germany Title: Pynchon Nods: Proust in Gravity's Rainbow Date: 2012 Volume: 1 Issue: 1 URL: https://www.pynchon.net/owap/article/view/30 DOI: 10.7766/orbit.v1.1.30 Abstract: This paper argues that Pynchon may allude to Marcel Proust through the character Marcel in Part 4 of Gravity's Rainbow and, if so, what that could mean. I trace the textual clues that relate to Proust and analyze what Pynchon may be saying about a fellow great experimental writer. Pynchon Nods: Proust in Gravity's Rainbow Erik Ketzan Editorial note: a previous draft of this paper appeared on The Modern Word in 2010. Remember the "Floundering Four" part in Gravity's Rainbow? It's a short story of sorts that takes place in a city of the future called Raketen-Stadt (German for "Rocket City") and features a cast of comic book-style super heroes called the Floundering Four. One of them is named Marcel, and I submit that he is meant as some kind of representation of the great Marcel Proust. Only eight pages long, the Floundering Four section is a parody/riff on a sci-fi comic book story, loosely patterned on The Fantastic Four by Marvel Comics. It appears near the end of Gravity's Rainbow among a set of thirteen chapterettes, each one a fragmentary "text". As Pynchon scholar Steven Weisenburger explains, "A variety of discourses, modes and forms are parodied in the… subsections.. -
1 Matt Phillips, 'French Studies: Literature, 2000 to the Present Day
1 Matt Phillips, ‘French Studies: Literature, 2000 to the Present Day’, Year’s Work in Modern Language Studies, 80 (2020), 209–260 DOI for published version: https://doi.org/10.1163/22224297-08001010 [TT] Literature, 2000 to the Present Day [A] Matt Phillips, Royal Holloway, University of London This survey covers the years 2017 and 2018 [H2]1. General Alexandre Gefen, Réparer le monde: la littérature française face au XXIe siècle, Corti, 2017, 392 pp., argues that contemporary French literature has undergone a therapeutic turn, with both writing and reading now conceived in terms of healing, helping, and doing good. G. defends this thesis with extraordinary thoroughness as he examines the turn’s various guises: as objects of literature’s care here feature the self and its fractures; trauma, both individual and collective; illness, mental and physical; mourning and forgetfulness, personal and historical; and endangered bonds, with humans and beyond, on local and global scales. This amounts to what G. calls a new ‘paradigme clinique’ and, like any paradigm shift, this one appears replete with contradictions, tensions, and opponents, not least owing to the residual influence of preceding paradigms; G.’s analysis is especially impressive when unpicking the ways in which contemporary writers negotiate their sustained attachments to a formal, intransitive conception of literature, and/or more overtly revolutionary political projects. His thesis is supported by an enviable breadth of reference: G. lays out the diverse intellectual, technological, and socioeconomic histories at work in this development, and touches on close to 200 contemporary writers. Given the broad, synthetic nature of the work’s endeavour, individual writers/works are rarely discussed for longer than a page, and though G.’s commentary is always insightful, specialists on particular authors or social/historical trends will surely find much to work with and against here. -
Jonathan Greenberg
Losing Track of Time Jonathan Greenberg Ottessa Moshfegh’s My Year of Rest and Relaxation tells a story of doing nothing; it is an antinovel whose heroine attempts to sleep for a year in order to lose track of time. This desire to lose track of time constitutes a refusal of plot, a satiric and passive- aggressive rejection of the kinds of narrative sequences that novels typically employ but that, Moshfegh implies, offer nothing but accommodation to an unhealthy late capitalist society. Yet the effort to stifle plot is revealed, paradoxically, as an ambi- tion to be achieved through plot, and so in resisting what novels do, My Year of Rest and Relaxation ends up showing us what novels do. Being an antinovel turns out to be just another way of being a novel; in seeking to lose track of time, the novel at- tunes us to our being in time. Whenever I woke up, night or day, I’d shuffle through the bright marble foyer of my building and go up the block and around the corner where there was a bodega that never closed.1 For a long time I used to go to bed early.2 he first of these sentences begins Ottessa Moshfegh’s 2018 novelMy Year of Rest and Relaxation; the second, Proust’s In Search of Lost Time. More ac- T curately, the second sentence begins C. K. Scott Moncrieff’s translation of Proust, whose French reads, “Longtemps, je me suis couché de bonne heure.” D. J. Enright emends the translation to “I would go to bed”; Lydia Davis and Google Translate opt for “I went to bed.” What the translators famously wrestle with is how to render Proust’s ungrammatical combination of the completed action of the passé composé (“went to bed”) with a modifier (“long time”) that implies a re- peated, habitual, or everyday action. -
Y 2 0 ANDRE MALRAUX: the ANTICOLONIAL and ANTIFASCIST YEARS DISSERTATION Presented to the Graduate Council of the University Of
Y20 ANDRE MALRAUX: THE ANTICOLONIAL AND ANTIFASCIST YEARS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Richard A. Cruz, B.A., M.A. Denton, Texas May, 1996 Y20 ANDRE MALRAUX: THE ANTICOLONIAL AND ANTIFASCIST YEARS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Richard A. Cruz, B.A., M.A. Denton, Texas May, 1996 Cruz, Richard A., Andre Malraux: The Anticolonial and Antifascist Years. Doctor of Philosophy (History), May, 1996, 281 pp., 175 titles. This dissertation provides an explanation of how Andr6 Malraux, a man of great influence on twentieth century European culture, developed his political ideology, first as an anticolonial social reformer in the 1920s, then as an antifascist militant in the 1930s. Almost all of the previous studies of Malraux have focused on his literary life, and most of them are rife with errors. This dissertation focuses on the facts of his life, rather than on a fanciful recreation from his fiction. The major sources consulted are government documents, such as police reports and dispatches, the newspapers that Malraux founded with Paul Monin, other Indochinese and Parisian newspapers, and Malraux's speeches and interviews. Other sources include the memoirs of Clara Malraux, as well as other memoirs and reminiscences from people who knew Andre Malraux during the 1920s and the 1930s. The dissertation begins with a survey of Malraux's early years, followed by a detailed account of his experiences in Indochina. -
AN APPROXIMATE TIME LINE of TWISTED TRANSLATIONS “The History of Translation, Like the History of a Long Series of Compromises
AN APPROXIMATE TIME LINE OF TWISTED TRANSLATIONS “The history of translation, like the history of a long series of compromises. This may explain error is for the worse. Here, inspired by Thirl- the novel, and like the history of the world, is why some novelists refuse every translator but well’s new book, The Delighted States, are some the history of mistakes,” Adam Thirlwell writes themselves, and why they become anxious of the most vexing moments in the history of on page seventeen of this issue. Even when when their work must travel through a chain literary translation. things go well, however, any translation requires of languages to reach its public. But not every —Jascha Hoffman E N S E A N H I H H N N U N H H A C A S H S I C S A A H G A S I S N L I H H I I C I I I I B B L M S U D A A T C C N N S I T S N D U B A T G E R L S E R T L E N R R A D L R A E Z U N I R E E O O U P W I O A A C C C D E F F G P P P R S S Y Y 1490 KEY: A Valencian knight writes Tirant Lo Blanc in Catalan. CHAIN TRANSLATION It is finished by a friend after his death. SELF TRANSLATION Edgar Allan Poe publishes his poem “The Raven.” MUTUAL TRANSLATION 1850 GROUP TRANSLATION NO CATEGORY Lewis Carroll writes Alice’s Adventures in W onderland. -
Travels with Samuel Beckett, 1928-1946
Beyond the Cartesian Pale: Travels with Samuel Beckett, 1928-1946 Charles Travis [I]t is the act and not the object of perception that matters. Samuel Beckett, “Recent Irish Poetry,” e Bookman (1934).1 Introduction he Irish Nobel laureate Samuel Beckett’s (1902-1989) early writings of the 1930s and 1940s depict the cities of Dublin, London and Saint-Lô Tin post-war France, with affective, comedic and existential flourishes, respectively. These early works, besides reflecting the experience of Beckett’s travels through interwar Europe, illustrate a shift in his literary perspective from a latent Cartesian verisimilitude to a more phenomenological, frag- mented and dissolute impression of place. This evolution in Beckett’s writing style exemplifies a wider transformation in perception and thought rooted in epistemological, cultural and philosophical trends associated with the Conti- nental avant garde emerging in the wake of the fin de siècle. As Henri Lefeb- vre has noted: Around 1910, the main reference systems of social practice in Eu- rope disintegrated and even collapsed. What had seemed estab- lished for good during the belle époque of the bourgeoisie came to an end: in particular, space and time, their representation and real- ity indissociably linked. In scientific knowledge, the old Euclidian and Newtonian space gave way to Einsteinian relativity. But at the same time, as is evident from the painting of the period—Cézanne first of all, then analytical Cubism—perceptible space and per- spective disintegrated. The line of horizon, optical meeting-point of parallel lines, disappeared from paintings.2 At the age of fourteen, Beckett, a son of the Protestant Anglo Irish bourgeoisie, witnessed in the largely Catholic nationalist uprising in Ireland, something Charles Travis is at Trinity College Dublin, Long Room Hub. -
Marcel Proust Time Regained
Marcel Proust Time Regained CLASSIC Read by Neville Jason FICTION MODERN CLASSICS NA322012D REMEMBRANCE OF THINGS PAST • XII 1 At Tansonville with Gilberte 7:37 2 Saint-Loup insisted I should remain… 6:15 3 Years in a sanatorium with a visit to Paris in 1914 4:32 4 At dinner time the restaurants were full… 2:55 5 Occasional meetings with Baron de Charlus 6:19 6 A return to the sanatorium 3:37 7 On my second return to Paris – another letter 3:55 8 A visit from Robert de Saint-Loup 3:18 9 Thinking about Saint-Loup’s visit 7:01 10 A further vendetta against Baron de Charlus 7:49 11 The views of Baron de Charlus 5:24 12 The destruction of men and the effect of the War 6:36 13 The aeroplanes passing through the night sky 7:46 14 Among abandoned, derelict houses,… 4:14 15 Entrance to the house followed by a sailor 2:01 16 A shocking discovery 6:22 17 ‘I implore you, mercy, mercy, have pity’ 2:49 18 A croix-de-guerre had been found on the floor 10:27 19 News of the death of Robert de Saint 10:56 20 Back to another sanatorium 2:44 21 I ordered a carriage to take me to the party 6:43 22 I got down from the carriage again 2:00 2 23 I stumble on some uneven paving stones 4:13 24 I entered the Guermantes’s mansion 3:55 25 I forced myself to try and see clearly 8:52 26 Fragments of existence removed from time 3:27 27 As I entered the Prince de Guermantes’s library 4:02 28 Real life… which has been uncovered… 5:59 29 At this moment, the butler arrived… 6:56 30 The Duchesse de Guermantes: 4:23 31 Old age, the meaning of death 8:03 32 Odette – looking -
Librairie Pierre PREVOST
Librairie Pierre PREVOST Liste n°46-1 – Petite bibliothèque littéraire 75, rue Michel-Ange Tel : 01 40 56 97 98 75016 PARIS Mob : 06 80 20 81 70 e-mail : [email protected] ----------------------------------------------------------------------------------------------------------------------------------- 01-BAINVILLE. Jacques. 180 € 03-BARRES. Maurice. 130 € Jaco et Lori. Dix jours en Italie. Paris. Grasset. 1927. 1 volume in-8 carré, demi- Paris. Crès. 1916. 1 volume in-16, demi-maroquin maroquin à coins bleu nuit, dos lisse, tête dorée. noirs à coins, plats bordés d’un double filet à froid, Couvertures et dos conservés. Reliure signée De dos lisse, tête dorée. Couvertures et dos conservés. Septime. 274 pp., (1) p. Reliure signée Greuzevault. Edition originale. 1 des 56 exemplaires numérotés sur Edition originale. vélin d’Arches. Exemplaire non rogné. 1 des 70 exemplaires numérotés sur japon impérial. Exemplaire à belles marges. Carnet de voyage en Italie pendant la Première Guerre 02-BARBIER. Auguste. 280 € mondiale. Ex-libris de Carlos Mayer, gravé par Stern ; timbre des Iambes. Librerias Martin Fierro. Paris. Urbain Canel et Ad. Guyot. 1832. 1 volume in-8, demi-veau glacé brun à coins, dos lisse orné et passé, couvertures conservées. Reliure signée 04-BENOIST-MECHIN. Jacques. 120 € Yseux Sr. de Simier. La musique et l’immortalité dans l’oeuvre de XXX pp., 144 pp., (1) p., 1 p. bl. Marcel Proust. Paris. Kra. 1926. 1 volume in-8 carré, demi- maroquin rouge, large bande centrale sur les plats, Edition originale des poèmes satiriques. tête dorée. Cette édition contient une préface, attribuée à Philarète Chasles, et deux pièces, Tentation et Couvertures et dos l’Iambe IX, qui ne seront pas reprises ensuite. -
Marcel Proust and the Global History of Asthma
Marcel Proust and the global history of asthma Professor Mark Jackson Centre for Medical History University of Exeter England Marcel Proust, 1871-1922 z born in Paris z Les Plaisirs et les Jours (1896) z À la recherche du temps perdu (1913-27) z Literary preoccupations with memory and guilt z Died from pneumonia Marcel Proust’s asthma z first attack, aged 9, walking in the Bois de Boulogne z regular, severe attacks of asthma and hay fever throughout his life, shaping his daily rhythms and dictating his creativity – slept during the day and worked at night z described in detail, particularly in letters to his mother Marcel Proust’s asthma `Ma chère petite Maman, An attack of asthma of unbelievable violence and tenacity – such is the depressing balance sheet of my night, which it obliged me to spend on my feet in spite of the early hour at which I got up yesterday.’ (c. 1900) `As soon as I reached Versailles I was seized with a horrifying attack of asthma, so that I didn’t know what to do or where to hide myself. From that moment to this the attack has continued.’ (26-8-1901) Marcel Proust’s asthma `Cher ami, I have been gasping for breath so continuously (incessant attacks of asthma for several days) that it is not very easy for me to write.’ (Letter to Marcel Boulenger, January 1920) Treating Proust’s asthma z Stramonium cigarettes `Ma chère petite maman, z Legras powders Yesterday after I wrote to you I z Espic powders had an asthma attack and incessant running at the nose, z Epinephrine which obliged me to walk all z Caffeine doubled up and light anti-asthma z Carbolic acid fumigations cigarettes at every tobacconist’s z Escouflaire powder as I passed, etc. -
CLAUDIA BAEZ Paintings After Proust
ART 3 109 Ingraham Street T 646 331 3162 Brooklyn NY 11237 www.art-3gallery.com FOR IMMEDIATE RELEASE CLAUDIA BAEZ, PAINTINGS after PROUST Curated by Anne Strauss October 8 – November 22, 2014 Opening: Wednesday, October 8, 6 - 9 PM Claudia Baez, PAINTINGS after PROUST “And as she played, of all Albertine’s multiple tresses I could see but a single heart-shaped loop of black hair dinging to the side of her ear like the bow of a Velasquez Infanta.”, 2014, oil on canvas, 18 x 24 in. (45.7 x 61 cm.) © Claudia Baez Courtesy of ART 3 gallery Brooklyn, NY, September 19, 2014 – ART 3 opened in Bushwick in May 2014 near Luhring Augustine with its Inaugural Exhibition covered by The New York Times T Magazine, Primer. ART 3 was created by Silas Shabelewska-von Morisse, formerly of Haunch of Venison and Helly Nahmad Gallery. In July 2014, Monika Fabijanska, former Director of the Polish Cultural Institute in New York, joined ART 3 as Co-Director in charge of curatorial program, museums and institutions. ART 3 presents CLAUDIA BAEZ, PAINTINGS after PROUST on view at ART 3 gallery, 109 Ingraham Street, Bushwick, Brooklyn, from October 8 to November 22, 2014, Tue-Sat 12-6 PM. The opening will take place on Wednesday, October 8, from 6-9 PM. “In PAINTINGS after PROUST, Baez offers us an innovative chapter in contemporary painting in ciphering her art via a modernist work of literature within a postmodernist framework. […] In Claudia Baez’s exhibition literary narrative is poetically refracted through painting and vice versa, which the painter reminds us with artistic verve and aplomb of the adage that every picture tells a story as well as the other way around”.