The authoress analyses the role of modern pieces of machinery whose purpose in Marcel Proust's novel cycle 'A la recherche du temps perdu' becomes aesthetic. Railroad, phonography, telegraphy, telephony, cinematography, x-ray technology, automobiles, airplanes - all that passes forward in front of the reader's eyes, reinforcing the cycle's grand theme: the 'lost time'. Modernity, as she argues, brings about an emancipation of the senses in that the latter are no more merely an instrument of cognition but are transferred to the sphere of aesthetics.
Commentary to Sara Danius' published in the present issue. The author argues that modernist senses - as coupled with motion-picture cameras, photo-cameras, devices designed for recording and reproducing physical phenomena, all of them incessantly under improvement - started penetrating into areas of the reality never described before and exploring theretofore-hidden fields of vision.
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