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1

Proust - the Scientist

100%
Heiss C.
CLEaR
|
2016
|
vol. 3
|
issue 2
1-8
EN
Proust was not only a French writer, but - based on his incredible scientific knowledge and descriptions in his novel - to some extent, a neurologist and psychologist. Far ahead of his time, Proust illustrated in his masterpiece In Search of Lost Time a link between personal memories and sensory stimuli. In his novels, he explains the mechanism of memory retrieval after perceiving a sensation. Without a doubt the most famous scene of In Search of Lost Time remains the moment when the taste of a French pastry, called “madeleine,” rekindles the childhood memories of the narrator Marcel in the first volume Swann’s Way. Similarly, listening to Vinteuil’s Sonata triggers and maintains Swann’s love for Odette and its expression in the second volume of the masterpiece In Search of Lost Time. His descriptions reveal that human senses are not only linked to personal memories, but may also trigger them. Moreover, contemporary studies in the biological field have shown that there are correlations between stimuli and intangible feelings and states of mind, such as love, hatred, and sympathy, primarily located in the amygdala of the human brain. Reading Proust’s masterpiece In Search of Lost Time through the lens of current neurological studies opens an interesting and innovative perspective on the subject of memory retrieval and shows that he was not “only” a writer, but also an observational scientist.
2
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Jak rozpoznać pastisz (i odróżnić go od parodii)?

89%
Hellich A.
Zagadnienia Rodzajów Literackich
|
2014
|
vol. 57/114 z. 2
25-38
PL
Pastisz może być — i bywał — pojmowany na trzy rozmaite sposoby: jako gatunek, jako odmiana stylizacji oraz jako odrębna kategoria estetyczna. Z różnymi definicjami tego zjawiska wiążą się różne oceny jego walorów artystycznych. Zwracając uwagę na pewne nieścisłości w genologicznych ujęciach pastiszu (reprezentowanych tu głównie przez koncepcję Stanisława Balbusa), opowiadam się za rozpatrywaniem pastiszu na płaszczyźnie estetycznej, nie zaś stylistycznej. Nie wydaje mi się jednak słuszne definiowanie go w opozycji do parodii, co czynią Linda Hutcheon i Ryszard Nycz. Opierając się na analizach prozy Marcela Prousta i Doroty Masłowskiej, przedstawiam tezę, że pastisz i parodia są nie tyle strategiami opozycyjnymi, co raczej pokrewnymi; nierzadko wręcz trudnymi do odróżnienia.
EN
So far, pastiche has been criticized as a sign of unoriginality and epigonism of postmodern artists, marginalized as a niche, elite phenomenon and cherished as the most perfect form of contemporary art. Differences in the perception of pastiche are due to the fact that everyone defines it differently: as a genre, as a kind of stylization or as an aesthetic category. I agree that a pastiche — like a parody — should be considered as a distinct aesthetic strategy. I do not think, however, that pastiche and parody make clear and rigid opposition. Analysis of examples of literature — from Marcel Proust to Dorota Masłowska — prove that these strategies are closely related and usually occur in hand.
3
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Entre l’art de l’invisibilité et l’art de la démesure : Marcel Proust caricaturé par Jean Cocteau

89%
Thiel-Jańczuk K.
Quêtes littéraires
|
2020
|
issue 10
EN
The paper discusses the relationship between Marcel Proust and Jean Cocteau in connection with the problem of their “visibility” (Nathalie Heinich) based on Jean Cocteau’s portrait (1922) of Marcel Proust and Claude Arnaud’s biographical essay (2013). In this context, Cocteau’s drawing, which conveys Marcel Proust’s extravagant character, could nowadays be considered not only a caricatural representation of the author of In Search of Lost Time, but also a demythologizing one, especially in contrast to the image of invisible Proust created by structuralist interpretations. Also, in the mediatic and theoretical contemporary context, Cocteau’s visual representation of Proust could be used to reflect on Proust ’s action (conduite) which, combined with his narrative discourse, defines the “posture” (Jérôme Meizoz) of the author of In Search… within the literary field.
FR
Partant d’un dessin de Marcel Proust par Jean Cocteau conçu en 1922 ainsi que d’un essai biographique de Claude Arnaud publié en 2013, l’auteur de l’article présente la relation entre les deux écrivains en référence à la problématique de leur « visibilité » (Nathalie Heinich). Dans ce contexte-là, le dessin de Cocteau, restant en accord avec le caractère démesuré de Marcel Proust, peut être aujourd’hui considéré comme une représentation caricaturale de l’auteur de la Recherche qui démythifie une image de Proust-écrivain invisible créée par la vulgate structuraliste. Aussi, dans le contexte médiatique et théorique contemporain, la représentation visuelle de Proust par Cocteau peut s'avérer utile pour la réflexion à propos de la « conduite » non-narrative de Proust qui, à côté de son activité discursive, définit la « posture » (Jérôme Meizoz) de l’auteur de la Recherche dans le champ littéraire français.
4
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IMAGE ET GOUT DE LA MADELEINE DANS LA TRADUCTION ROUMAINE DU CHEF-D’ŒUVRE PROUSTIEN

88%
BALAȚCHI R.-N.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
|
2016
|
vol. 8
109-116
EN
Translating Proust’s masterpiece A la recherche du temps perdu has been a serious challenge for translators since the very beginning of its reception in Europe and elsewhere in the world. Among the various difficulties translators are confronted with, syntactic structures are the most often mentioned and analyzed. However, vocabulary and terminology, with cultural terms in particular, may raise specific problems as well, becoming obvious especially when the translating process is analyzed diachronically, on the basis of the different retranslations published in a given target culture. The main objective of our paper is to describe and assess the translating strategies used by the three Romanian translators of the novel (Cioculescu, Streinu, Mavrodin) in their versions of one of the most famous episodes of the A la recherche and one of its key fragments, namely the madeleine and the involuntary memory.
5
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Od sztuki do życia i z powrotem. Wizyta Prousta w Jeu de Paume

87%
Renzi L.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2015
|
issue 26
279-295
EN
The article is an attempt at analysing the biographical episode which inclined Proust to rework Bergotte’s death in In Search of Lost Time. Renzi shows how literature (or more generally: art) and life intertwine. By analysing fragments of Proust’s famous novel as well as his records and letters, the author presents the French writer as an avid fan of Vermeer’s paintings. He also touches upon the history of the influence of the Dutch painter on Proust’s works.
6
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Materialność intertekstualności. Figura cienia w komiksie Fun Home Alison Bechdel

76%
Sobczak I.
Forum Poetyki
|
2019
|
issue 17
29-39
EN
In this article, I analyse Alison Bechdel’s autobiographical comic book Fun Home, which has been hailed as the “event of the year,” demonstrating how its visual and verbal layer engages in an intertextual dialogue with Marcel Proust’s In Search of Lost Time. Proust’s novel becomes the main intermediary in the double (graphic and textual) coding of gender, sexual, and artistic identity of the main characters: father and daughter. The figure of the shadow plays a crucial role in description and representation; adapted from Jungian psychoanalysis, it takes on a more material and less abstract character in Bechdel’s comic book.
PL
Studium przypadku okrzykniętego „wydarzeniem roku” autobiograficznego komiksu Alison Bechdel Fun home bada, w jaki sposób ikoniczno-werbalna płaszczyzna nawiązuje intertekstualną relację z dziełem W poszukiwaniu straconego czasu Marcela Prousta, które staje się głównym pośrednikiem w podwójnym (graficzno-tekstowym) kodowaniu tożsamości płciowej, seksualnej, artystycznej bohaterów: ojca i córki. Najważniejszą figurą przedstawienia oraz językiem opisu jest cień, który odzyskany z Jungowskiej psychoanalizy nabiera w komiksie bardziej materialnego, mniej abstrakcyjnego charakteru.
7
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Proust, metodą Ollendorffa

75%
Jan Zieliński J.
Załącznik Kulturoznawczy
|
2014
|
issue 1
327-349
EN
The first part of the paper discusses the meandric cooperation between Marcel Proust and the Paris based publisher Paul Ollendorff that lasted over 20 years (1893-1913). Further on, the Western expansion of the Ollendorff family from Rawicz, Poland, is briefly sketched. Another passage con- cerns a Maeterlinck pastiche by Proust (Echo, 1911), seen in the context of Ollendorff’s conversation method of learning languages. The author suggests Proust was using this method to learn English himself. The paper ends with a survey of several mentions of Ollendorff’s method in the twentieth century Polish prose.
8
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Monsieur de Charlus et le clocher de Combray La Premiere Guerre mondiale dans “A la Recherche du temps perdu” de Marcel Proust

63%
Camelin C.
Acta Philologica
|
2016
|
issue 49
201-213
EN
In the 1913 edition of “Swann’s way,” the narrator’s grandparents’ village, Combray, is located in the Beauce (South-West from Paris). When Proust worked for a new edition in 1916, he moved Combray eastwards, to the Front in Champagne so that the war could take place in the novel. A large part of “Time regained” is about the war. The Baron of Charlus expresses Proust’s critique of nationalism. As a sensitive aesthete, he worries about the terrible killing going on, about men’s sufferings during an industrial war, and about the future of Europe. The church in Combray has been destroyed. The narrator’s grandmother considered its steeple as a symbol of plainness, elegance, and sensitivity. Its ruins become a symbol of sheer violence and inhumanity of wars. But Proust will rebuild it in his novel. Jorge Semprun, Varlam Chalamov and Joseph Czapski, prisoners in totalitarian states, remembered Proust’s humanism.
9
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Po stronie życia, przeciw melancholii

63%
Rusinek W.
Śląskie Studia Polonistyczne
|
2015
|
issue 2(7)
259-267
EN
The subject of Wojciech Rusinek’s review is Marek Bieńczyk’s collection of essays Jabłko Olgi, stopy Dawida [Olga’s Apple, David’s Feet]. The author begins his reading of the book by placing it in the context of Bieńczyk’s earlier achievements: both artistic (novels, literary essays) and academic (bearing witness to his studies on Romanticism). While noting that Bieńczyk’s essays are governed by a wealth and a surprising variety of the explored themes, Rusinek emphasises, however, the worldview coherence of the volume. According to the author of the review, a key to the interpretation of all the essays in the book is “the praise of the taste of life,” which makes a new tone in Bieńczyk’s writing, so far associated mainly with the reflection on melancholy and melancholy discourse present in his artistic prose. In the following part of the review, by outlining the content of the essays devoted to Proust’s and Nerval’s prose, Hopper’s painting or Sempé’s drawings, Rusinek analyses the anthropological figures around which Bieńczyk’s digressive and slow reflection revolves: gesture, light, escape, frozen time. The reading of Bieńczyk’s work becomes enriched with an analysis of style (a role of stylization). Moreover, the review points out those fragments of Jabłko Olgi, stopy Dawida where a description of artistic works becomes smoothly linked with the elements of the author’s biography. In the conclusion of the reflection upon Bieńczyk’s essays, the author states that the essays clearly lean towards poetics of epiphany, which, in the view of the author of Jabłko Olgi…, would mean an unclear, veiled by an infinite number of borrowings, allegories, allusions and stylizations, suspending the flow of time, experience of existence in its inexpressible fullness.
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