Proust, Beckett, and Narration by James H. Reid

By James H. Reid

This comparability of the narrative suggestions of 2 of the 20 th century's most vital writers of prose combines theoretical research and textual content examine of Proust's A l. a. recherche du temps perdu and Beckett's trilogy of novels, Molloy, Malone dies, and The Unnamable. James Reid's learn is a vital contribution to the severe literature, and gives clean views at the the most important value of the Recherche and the trilogy within the context of the twentieth-century novel.

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Extra info for Proust, Beckett, and Narration

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3 Is personal difference really retained in the novel? 4 The key to Proust’s theory of autobiographical and literary historical repetition is the particular past that involuntary memory and artistic forgetting recreate: past personal impressions. Involuntary memories are grounded in repetitions of past sensations: “[L]a meilleure part de notre m´emoire est hors de nous, dans un souffle pluvieux, dans l’odeur de renferm´e d’une chambre ou dans l’odeur d’une premi`ere flamb´ee, partout o`u nous retrouvons de nous-mˆemes ce que notre intelligence, n’en ayant pas l’emploi, avait d´edaign´e, la derni`ere r´eserve du pass´e .

Rather, it negates any possibility of saying what the father was doing. Irony of irony thus replaces the temporal difference that allegory establishes between the too-earliness and too-lateness of meaning with a repeated attempt and failure, in time, to constitute language as the atemporal co-existence of assertion and negation of meaning. Irony tends towards, but never arrives at, an ahistorical confusion of contraries that dissolves differences between memory and forgetting, self and non-self.

La reconnaissance en soi-mˆeme, par le lecteur, de ce que dit le livre, est la preuve de la v´erit´e de celui-ci, et vice-versa, au moins dans une certaine mesure, la diff´erence entre les deux textes pouvant eˆtre souvent imput´ee non a` l’auteur mais au lecteur. De plus, le livre peut eˆtre trop savant, trop obscur pour le lecteur na¨ıf, et ne lui pr´esenter ainsi qu’un verre trouble avec lequel il ne pourra pas lire. ” (R, 3: 911) Whether or not one reads the “drame du coucher” as an ontological discourse on the remembering and forgetting of the self, a moral discourse on sin and atonement, or a psychological discourse on guilt and reparation, the passage unfolds the subordination of these discourses to an allegorical search to write the temporal interplay between them.

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