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First published in 1949, this book presents an extensive study of the mind and art of Proust. The text offers a detailed commentary on the many aspects of his literary imagination, discussing 'Proust the historian of the eternal passions, the creator of high comedy and memorable character, the imagist, the painter of a vanished society'. Numerous quotations are included in the original French, with the longer quotations given in both French and English. This book will be of value to anyone with an interest in Proust and literary criticism.
This book brings together, in a novel and exciting combination, three authors who have written movingly about mourning: two medieval Italian poets, Dante Alighieri and Francesco Petrarca, and one early twentieth-century French novelist, Marcel Proust. Each of these authors, through their respective narratives of bereavement, grapples with the challenge of how to write adequately about the deeply personal and painful experience of grief. In Jennifer Rushworth's analysis, discourses of mourning emerge as caught between the twin, conflicting demands of a comforting, readable, shared generality and a silent, solitary respect for the uniqueness of any and every experience of loss. Rushworth explores a variety of major questions in the book, including: what type of language is appropriate to mourning? What effect does mourning have on language? Why and how has the Orpheus myth been so influential on discourses of mourning across different time periods and languages? Might the form of mourning described in a text and the form of closure achieved by that same text be mutually formative and sustaining? In this way, discussion of the literary representation of mourning extends to embrace topics such as the medieval sin of acedia, the proper name, memory, literary epiphanies, the image of the book, and the concept of writing as promise. In addition to the three primary authors, Rushworth draws extensively on the writings of Sigmund Freud, Julia Kristeva, Jacques Derrida, and Roland Barthes. These rich and diverse psychoanalytical and French theoretical traditions provide terminological nuance and frameworks for comparison, particularly in relation to the complex term melancholia.
The long-awaited penultimate volume--"the very summit of Proust's art" (Slate)--in the acclaimed Penguin translation of Marcel Proust's greatest work, in time for the 150th anniversary of his birth "The greatest literary work of the twentieth century." --The New York Times A Penguin Classics Deluxe Edition, with flaps and deckle-edged paper Peter Collier's acclaimed translation of The Fugitive introduces a new generation of American readers to the literary riches of Marcel Proust. The sixth and penultimate volume in Penguin Classics' superb new edition of In Search of Lost Time--the first completely new translation of Proust's masterpiece since the 1920s--brings us a more comic and lucid prose than readers of English have previously been able to enjoy. "Miss Albertine has left!" So begins The Fugitive, the second part of what is often referred to as "the Albertine cycle," or books five and six of In Search of Lost Time. As Marcel struggles to endure Albertine's departure and vanquish his loss, he ends up in an anguished search for the essential truth of the enigmatic fugitive, whose love affairs with other women provoke in him jealousy and a new understanding of sexuality. Eventually, he lets go of Albertine and begins to find himself, discovering his own long-lost inner sources of creativity. For more than seventy-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 2,000 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
"Eric Karpele's guide offers a feast for the eyes as it celebrates the close relationship between the visual and literary arts in Proust's masterpiece, Karpeles has identified and located all of the paintings to which Proust makes exact reference. Where only a painter's name is mentioned to indicate a certain mood or appearance, he has chosen a representative work to illustrate the impression that Proust sought to evoke. Botticelli's angels, Manet's courtesans, Mantegna's warriors and Carpaccio's saints stand among Monet's water lilies and Piranesi's engravings of Rome, while Karpeles's insightful essay and lucid contextual commentary explain their significance to Proust. Extensive notes and a comprehensive index of all painters and paintings mentioned in the novel provide an invaluable resource for the reader navigating In Search of Lost Time for the first time or the fifth."--BOOK JACKET.
How do you make God laugh? Tell him your plans. Globe-trotting photojournalist Angela Thomas has spent all thirty-two years of her life dreaming of far-off places. Nothing that has happened to her thus far -- the dysfunction of her family, the failure of her marriage -- can convince her that "home" is where she belongs. Though she won't admit it, her job is as much an escape as it is a passion. Every foreign assignment is a chance to trade gnawing family conflicts in for situations that may kill her but won't break her heart. Everything changes when Angela is sent to cover the war in Yugoslavia. She has survived strife and destruction before, but this time is different; this time, the people around her refuse to remain at arm's length, filtered by a camera lens. Through the unexpected attachments she makes, Angela's eyes are finally opened to a view that casts her old life and her old problems in a completely different light.
A proposal that we think about digital technologies such as machine learning not in terms of artificial intelligence but as artificial communication. Algorithms that work with deep learning and big data are getting so much better at doing so many things that it makes us uncomfortable. How can a device know what our favorite songs are, or what we should write in an email? Have machines become too smart? In Artificial Communication, Elena Esposito argues that drawing this sort of analogy between algorithms and human intelligence is misleading. If machines contribute to social intelligence, it will not be because they have learned how to think like us but because we have learned how to communicate with them. Esposito proposes that we think of “smart” machines not in terms of artificial intelligence but in terms of artificial communication. To do this, we need a concept of communication that can take into account the possibility that a communication partner may be not a human being but an algorithm—which is not random and is completely controlled, although not by the processes of the human mind. Esposito investigates this by examining the use of algorithms in different areas of social life. She explores the proliferation of lists (and lists of lists) online, explaining that the web works on the basis of lists to produce further lists; the use of visualization; digital profiling and algorithmic individualization, which personalize a mass medium with playlists and recommendations; and the implications of the “right to be forgotten.” Finally, she considers how photographs today seem to be used to escape the present rather than to preserve a memory.