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By Nigel Harkness, Marion Schmid

This quantity of essays, that is devoted to the overdue Richard Bales, one of many doyens of Proust experiences, considers Proust’s pivotal position on the threshold of modernity, among 19th- and twentieth-century kinds of writing and pondering, among the Belle Epoque and the 1st international struggle, among culture and innovation. greater than only a temporal inspiration, this threshold is theorized within the quantity as a liminal area the place borders (geographical, inventive, own) dissolve, the place better chances for inventive discussion emerge, and the place unforeseen encounters (between artists, genres and disciplines) take place.
operating either back and forth from the booklet dates of A l. a. recherche du temps perdu (1913-27), the seventeen essays written especially for this quantity take as their concentration Proust’s manifold engagements with the realm of modernity, in addition to intermedial kinfolk one of the generations of artists earlier than and instantly after him. in retrospect to the 19th century, the undisputed start line for nascent kinds of modernity in Western artwork and literature, and a interval that used to be uniquely formative for the younger Proust, additionally they supply insights into inter-artistic discussion in Surrealist and post-Surrealist portray and poetry

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The stimulus to praise is grounded in love of God’s creation, with the resulting ‘love song’ transmuting into art through the artist’s ‘reason and discipline’. ’, the central conception of art shared by both British writers and Dante is clear: Fixer ceci dans votre esprit comme le principe directeur de tout bon labeur pratique et la source de toute saine énergie vitale: – votre œuvre d’art doit être faite à la gloire de quelque chose que vous aimez. 53 Proust’s decision to entitle the section of his novel which contains his artistic program ‘adoration perpétuelle’ (a thesis which was already being worked out in his meditations on the links between reverence, praise and love in his Ruskinian articles) shares this conception of art as praise grounded 51 52 53 Purgatory, Canto xvii, v.

193). Proust and the Carlylean Mediation of Dante 21 lating The Bible of Amiens in which Ruskin makes a similar comment,12 and would have immediately compared Ruskin’s wariness on the subject with Carlyle’s surprising attachment for the essentially Roman Catholic concept of Purgatory. It is perhaps interesting to note that The Divine Comedy had always been an important touchstone in the Carlyle family as the various and lifelong references, both playful and serious, to Dante and his work, in Thomas’s correspondence with his wife, Jane Welsh Carlyle, attest.

Once again, Dante is comparing the perishability of an earthly prize to the eternal winning of Heaven. 36 It is but one example of Proust’s humblein-aspect but profoundly hermeneutic objects. 37 Once again, a Carlylean intertext seems to emerge in what at first sight appears to be a uniquely Dantean inf luence. 38 Teufelsdröckh keeps his birth-cloth as a puzzling indicator of his mysterious origins, occasionally wonders about its significance, but concludes that ‘from the veil can nothing be inferred: a piece of now quite faded Persian silk, like thousands of others’.

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