Download Marcel Proust: The Fictions of Life and of Art by Leo Bersani PDF
By Leo Bersani
Leo Bersani is an eminent literary critic whose influential paintings spans part a century. His substantial, in lots of methods unclassifiable, oeuvre has traversed and blurred the limits of the disciplines of recent French literature, literary feedback, psychoanalysis, paintings background, movie thought, philosophical aesthetics, and masculinity reviews and sexuality reports. Oxford collage Press released Bersani's first publication, on Proust, in 1965, however the paintings has lengthy been out of print. This new version is available in reaction to a contemporary renewal of curiosity between philosophers of literature, between others, and contours a brand new preface from the writer.
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Additional resources for Marcel Proust: The Fictions of Life and of Art
He is overcome by the present; it is as if he had just been born, and, without a personal past, he sees in the city only an anonymous mass of matter. He is, moreover, peculiarly susceptible to this sort of crisis. And, as I shall show, the importance of metaphor in the work he writes can largely be accounted for by the original helplessness of his imagination. The richness and density of his analogies are 9 MARCEL PROUST strategies designed to make analogies no longer necessary, to reduce the world entirely to the images the self already possesses.
Superficially, Marcel seems only impatient with the self that keeps him from penetrating the “more real” life of nature; he is almost anxious to give up his own being in 15 MARCEL PROUST order to become something else. But he is also tempted by a paradoxical identification with something outside of himself which would not involve a loss of self. ” Golo uses the objects in Marcel’s bedroom as bone structures for his body; he takes the form of whatever his image touches. 21 He provides the narrator with a fanciful version of a peculiar relation between the self and the world, one in which each is absorbed by the other without, however, losing its individual identity.
33 Separation—and this will, of course, be painfully true for Marcel in his love for Albertine—seems to mean two things: the person we love is enjoying unimaginable and evil pleasures, and she is in an atmosphere hostile to us where she may be made to laugh at us. What relieves the anguish caused by this idea is a kind of knowledge. We “create” one of the moments that make up the hours the loved one spends away from us; the threateningly blank face of those pleasures is suddenly filled with our own image when our friend tells the woman that we would like to speak with her.