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This book describes the development of Proust's treatment of material objects from his earliest work Les Plaisirs et les jours to his mature novel À la recherche du temps perdu. It examines the literary influences on Proust's way with objects in the light of certain critical texts and reconsiders the significance of Ruskin. As the movement from unreflective and spontaneous representation to a meta-narrative of consciousness is traced, some questions as to the banality of the 'banal object' arise. The meta-narrative finds resonance in a peculiarly Proustian pictoriality which has been largely unnoticed. It resides in descriptions where objects appear simultaneously or at different times as things in paintings and in the real. By exploring connections between Proust's pictoriality and his reflections on 'matière' and 'surface', the author suggests a radical approach to the modernism of À la recherche du temps perdu.
This book describes the development of Proust's treatment of material objects from his earliest work Les Plaisirs et les jours to his mature novel A la recherche du temps perdu. It examines the literary influences on Proust's way with objects in the light of certain critical texts and reconsiders the significance of Ruskin. As the movement from unreflective and spontaneous representation to a meta-narrative of consciousness is traced, some questions as to the banality of the `banal object' arise. The meta-narrative finds resonance in a peculiarly Proustian pictoriality which has been largely unnoticed. It resides in descriptions where objects appear simultaneously or at different times as things in paintings and in the real. By exploring connections between Proust's pictoriality and his reflections on `matiere' and `surface', the author suggests a radical approach to the modernism of A la recherche du temps perdu.
Why are so many theatre productions adaptations of one kind or another? Why do contemporary practitioners turn so frequently to non-dramatic texts for inspiration? This study explores the fascination of novels, short stories, children's books and autobiographies for theatre makers and examines what 'becomes' of literary texts when these are filtered into contemporary practice that includes physical theatre, multimedia performance, puppetry, immersive and site-specific performance and live art. In Adaptation in Contemporary Theatre, Frances Babbage offers a series of fresh critical perspectives on the theory of adaptation in theatre-making, focusing on meditations of prose literature within contemporary performance. Individual chapters explore the significance and impact of books as physical objects within productions; the relationship between the dramatic adaptation and literary edition; storytelling on the page and in performance; literary space and theatrical space; and prose fiction reframed as 'found text' in contemporary theatre and live art. Case studies are drawn from internationally acclaimed companies including Complicite, Elevator Repair Service, Kneehigh, Forced Entertainment, Gob Squad, Teatro Kismet and Stan's Cafe. Adaptation in Contemporary Theatre is a compelling and provocative resource for anyone interested in the potential and the challenges of using prose literature as material for new theatrical performance.
Understanding Barthes, Understanding Modernism is a general assessment of the modern literary and philosophical contributions of Roland Barthes. The first part of the volume focuses on work published prior to Barthes's death in 1980 covering the major periods of his development from Writing Degree Zero (1953) to Camera Lucida: Reflections on Photography (1980). The second part focuses both on the posthumously published material and the legacies of his work after his death in 1980. This later work has attracted attention, for example, in conjunction with notions of the neutral, gay writing, and critiques of everyday life. The third part is devoted to some of the critical vocabulary of Barthes in both the work he published during his lifetime, and that which was published posthumously.
This collection engages with questions of influence, a vexed and problematic concept whose intellectual history is both ancient and vast. It examines a range of texts written in French, sometimes in dialogue with visual/musical works, drawn mainly from the eighteenth century onwards. Connections are made with related work in a range of disciplines.
The impetus behind this collection of essays was a curiosity shared by the editors concerning the relation between the flesh and the text in French and francophone literature. This subject is explored here in readings of works by, among others, Rabelais, Diderot, Sade, Proust, Beckett, Djebar, Nothomb, Delvig and Nobécourt.
This collection of essays addresses the question of lucidity as a thematic in literature and film but also as a quality of both expression and insight in literary criticism and critical thought more generally. The essays offer treatments of lucidity in itself and in relation to its opposites, forms of obscurity and darkness. They offer attention to problems of philosophical thought and reason, to questions of literary and poetic form, and of photographic and filmic contemplation. Ranging from engagements with early modern writing through to more recent material the contributions focus in particular on nineteenth- and twentieth-century French prose and poetry, the field which has been the predominant focus of Alison Finch’s critical writing. They are written as tributes to the distinctively lucid insights of her work and to the breadth and clarity of its intellectual engagement.
Introduction: Miscellaneous Rubbish -- Relics -- Heirlooms -- Props -- Treasure -- Conclusion
The great eighteenth-century French thinker Denis Diderot (1713–84) once compared himself to a weathervane, by which he meant that his mind was in constant motion. In an extraordinarily diverse career he produced novels, plays, art criticism, works of philosophy and poetics, and also reflected on music and opera. Perhaps most famously, he ensured the publication of the Encyclopédie, which has often been credited with hastening the onset of the French Revolution. Known as one of the three greatest philosophes of the Enlightenment, Diderot rejected the Christian ideas in which he had been raised. Instead, he became an atheist and a determinist. His radical questioning of received ideas and established religion led to a brief imprisonment, and for that reason, no doubt, some of his subsequent works were written for posterity. This collection of essays celebrates the life and work of this extraordinary figure as we approach the tercentenary of his birth.
This volume of essays, which is dedicated to the late Richard Bales, one of the doyens of Proust studies, considers Proust's pivotal role at the threshold of modernity, between nineteenth- and twentieth-century forms of writing and thinking, between the Belle Epoque and the First World War, between tradition and innovation. More than just a temporal concept, this threshold is theorized in the volume as a liminal space where borders (geographical, artistic, personal) dissolve, where greater possibilities for artistic dialogue emerge, and where unexpected encounters (between artists, genres and disciplines) take place. Working both backwards and forwards from the publication dates of A la recherche du temps perdu (1913-27), the seventeen essays written specially for this volume take as their focus Proust's manifold engagements with the world of modernity, as well as intermedial relations among the generations of artists before and immediately after him. Looking back to the nineteenth century, the undisputed starting point for nascent forms of modernity in Western art and literature, and a period that was uniquely formative for the young Proust, they also offer insights into inter-artistic dialogue in Surrealist and post-Surrealist painting and poetry.