Since the publication of Coraz6n tan blanco （A Heart so White） （1992）, many critics have compared the Spanish novelist Javier Marias to Marcel Proust. Both favor long, meandering sentences, in which they insert vo...Since the publication of Coraz6n tan blanco （A Heart so White） （1992）, many critics have compared the Spanish novelist Javier Marias to Marcel Proust. Both favor long, meandering sentences, in which they insert voluminous asides. In thematic terms, their narratives are constantly involved with meditation over the extent to which we can understand the past, or the degree to which we can know either ourselves or others. Beyond their common preoccupation with time and memory, I will consider some remarkable similarities between Marias＇ and Proust＇s formative years and the role translation played in the development of their style. I will show the many ways in which Proust ＂haunts＂ Marias： in his metaphorical use of the translating practice, in his love of deferral, and in his brooding first-person narrators, racked by the anxiety of ignorance.展开更多
Marcel Proust is an author of global significance and renown. Trans- lations into Chinese and Korean of A la recherche du temps perdu are ongoing. The Gallica online library of France＇s Bibliothbque nationale makes t...Marcel Proust is an author of global significance and renown. Trans- lations into Chinese and Korean of A la recherche du temps perdu are ongoing. The Gallica online library of France＇s Bibliothbque nationale makes the notebooks from which Proust＇s novel emerged between 1908 and 1922 digitally accessible any- where in the world. It is well known that Proust has been adapted to graphic novel format, individual volumes of his novel have been adapted for cinema, inspired ballet and musical theatre and his characters＇ lives have fuelled works of fiction by contemporary creative writers. This paper considers a very recent instance of Proust＇s reception and adaptation： ＂Works in Fiber, Paper and Proust＂ created by the critic and theorist Eve Kosofsky Sedgwick （1950-2009） and first exhibited at Harvard University in 2005. These remarkable objects--including what Sedgwick calls an ＂accordion-book＂ and a ＂loom-book＂--give a woven, layered physicality to Proust＇s words and remobilise them in ways that force us to reconfigure our understanding of the text-reader relation. Sedgwick＇s visual, textile artworks are the products of creative, adaptive practices undertaken as a sort of therapy that was instrumental in her coming to terms with the terminal cancer diagnosis she received in 1996. My paper explores Sedgwick＇s adaptive practice and interrogates the in- sights their challenging hybridity offers us into the ongoing transmission of Proust＇s work.展开更多
文摘Since the publication of Coraz6n tan blanco （A Heart so White） （1992）, many critics have compared the Spanish novelist Javier Marias to Marcel Proust. Both favor long, meandering sentences, in which they insert voluminous asides. In thematic terms, their narratives are constantly involved with meditation over the extent to which we can understand the past, or the degree to which we can know either ourselves or others. Beyond their common preoccupation with time and memory, I will consider some remarkable similarities between Marias＇ and Proust＇s formative years and the role translation played in the development of their style. I will show the many ways in which Proust ＂haunts＂ Marias： in his metaphorical use of the translating practice, in his love of deferral, and in his brooding first-person narrators, racked by the anxiety of ignorance.
文摘Marcel Proust is an author of global significance and renown. Trans- lations into Chinese and Korean of A la recherche du temps perdu are ongoing. The Gallica online library of France＇s Bibliothbque nationale makes the notebooks from which Proust＇s novel emerged between 1908 and 1922 digitally accessible any- where in the world. It is well known that Proust has been adapted to graphic novel format, individual volumes of his novel have been adapted for cinema, inspired ballet and musical theatre and his characters＇ lives have fuelled works of fiction by contemporary creative writers. This paper considers a very recent instance of Proust＇s reception and adaptation： ＂Works in Fiber, Paper and Proust＂ created by the critic and theorist Eve Kosofsky Sedgwick （1950-2009） and first exhibited at Harvard University in 2005. These remarkable objects--including what Sedgwick calls an ＂accordion-book＂ and a ＂loom-book＂--give a woven, layered physicality to Proust＇s words and remobilise them in ways that force us to reconfigure our understanding of the text-reader relation. Sedgwick＇s visual, textile artworks are the products of creative, adaptive practices undertaken as a sort of therapy that was instrumental in her coming to terms with the terminal cancer diagnosis she received in 1996. My paper explores Sedgwick＇s adaptive practice and interrogates the in- sights their challenging hybridity offers us into the ongoing transmission of Proust＇s work.
