Indice del fascicolo n. 46, 30 dicembre 2022

Editoriale

Marcel Proust o dell’inattuale necessario, di Giuseppe Girimonti Greco e Maria Panetta

Letture critiche

L’opera come prigione del tempo. Proust, Jung e la scrittura dell’inconscio, di Gian Paolo Caprettini

Abstract: The paper deals, availing of a variety of references, with literature and cinema, elaborating on the  multifarious role of time between writing and memory, tracing it back to the psychological archetypes, in the sense outlined by Jung. In the meeting of Proust and Joyce, of Bergson and Jung we may assert that writing is a medium to build the reality in many ways. Every careful observation, in every present time, plays many-sided roles with artistic sublimation, involved in many levels of time and truth. In this sense Proust said that time has to be incorporated into the writing and consequently multiplied by the author’s and reader’s  consciousness.

Ermeneutica della gelosia proustiana: il caso di Honoré de Tenvres, di Daniele Garritano

Abstract: The contribution proposes an investigation of proustian jealousy by an hermeneutics of its gnoseological and epistemological aspects. In the crossroads between affective and fact-finding dimensions, proustian jealousy displays an essential articulation of the desire to know: the jealous lover lives in a perpetual tension between the inability to see and the need to read the beloved’s secrets. The analysis notably lingers on the short story La fin de la jalousie (1896), aiming a close interpretation of the visual imaginary expressed by the character of Honoré de Tenvres through its pathological jealousy.

 Satgé/Proust : canto e controcanto in Tu n’écriras point, di Geneviève Henrot Sostero

Abstract: The essay analyzes the novel Tu n’écriras point by Alain Satgé, which is openly inspired by Proust. The author aims to identify the different levels in which the Proustian lesson manifests itself (the song) and, at the same time, the means by which the author (Satgé) shapes a personal voice for himself (the countermelody).

Abstract:  Dans ce roman qui, dès l’incipit, à la fois déclare s’inscrire dans la mouvance de Proust et aussitôt « fait un pas de côté », cette étude entend cerner les différents niveaux auxquels la leçon proustienne est audible (ce chant) et en même temps les moyens par lesquels l’auteur (Satgé) se ménage une voix personnelle (ce contrechant). Proust est nommé, évoqué, interpellé, émulé, prolongé, pastiché ou taquiné à chaque page de Tu n’écriras point. Sans vouloir faire le tour de tous les types et modes de présence de Proust dans le roman de Satgé, on peut cependant ramasser (résumer) quelques lignes de force thématiques, stylistiques et poétiques, qui permettent de progresser du local (le motif, la figure, l’épisode) au global (l’architecture de l’œuvre) en gravissant le fractal (structures phrastiques et textuelles), et d’alterner à chaque fois le « chant » (notoire et sonore, commun à Proust et à Satgé) et le « contre-chant » (où Satgé dévie du sillon proustien et adopte un autre point de vue).

 Abstract: In questo romanzo che, sin dall’incipit, dichiara di iscriversi nell’orbita di Proust e, al tempo stesso, subito se ne « smarca », il presente studio intende individuare i diversi livelli sui quali la lezione proustiana è udibile (il canto) e, nel contempo, i mezzi attraverso i quali l’autore (Satgé) plasma per sé stesso una voce personale (il controcanto). Proust viene menzionato, evocato, interpellato, emulato, prolungato, pastiché e punzecchiato in ogni pagina di Tu n’écriras point. Senza pretendere di passare in rassegna tutte le tipologie e le modalità della presenza proustiana nel romanzo di Satgé, si possono tuttavia raccogliere (riassumere) alcune linee di forza tematiche, stilistiche e poetiche che permettono di procedere dal locale (il motivo, la figura, l’episodio) al globale (l’architettura dell’opera), delineando il frattale (strutture frastiche e testuali), ed è altresì possibile alternare, di volta in volta, il « canto » (ben riconoscibile all’orecchio) e il « contro-canto » (là dove Satgé esce dal solco proustiano per adottare un altro punto di vista).

 Pose “proustine”. Imitazioni, fraintendimenti e approssimazioni di Truman Capote ai danni del signor Marcel Proust, di Francesco Merciai

Abstract: Speaking of his latest novel, Answered Prayers, Truman Capote said he wanted to write his own version of Proust’s Recherche. Starting from the presence of Proust in the writings preceding Answered Prayers, the author of the article aims to understand how much Capote knew Proust’s work, through the testimonies of friends and detractors and thanks to the documentation provided by the works of Clarke and Plimpton. In this work we want to demonstrate that, having a brief knowledge of Proust, Capote would not have been able to rewrite the Recherche in an American key, but that in any case some intuitions of the three surviving chapters of Answered Prayers (representation of homosexuality, narrator, portrait of an elite class etc.) are undeniably Proustian.

 Respirare felicità. Su un’aria comune in Proust e Benjamin, di Enrico Palma

Abstract:  The essay proposes a critical-theoretical suggestion on a possible textual convergence between two passages respectively by Marcel Proust (from Le temps retrouvé) and Walter Benjamin (from the Geschichtsphilosophische Thesen), trying to identify the common traits and to suggest a hermeneutic outline useful to enlighten both authors. After a comment on both texts and the reasons for their similarity, the objective therefore will be to discuss the plausibility of the repurposing of a Proustian phrase and concept in Benjamin, to articulate a common interpretation that emerges by influencing the writer on the philosopher and to decline the proposal for a metaphysics of rescue starting from redemption of lost time and history.

 Morselli e Proust: un confronto sul sentimento, di Maria Panetta

Abstract: The essay analyzes Proust o del sentimento, published in 1943 by Garzanti, also referring to Morselli’s subsequent production and above all to various passages taken from his Diary. The intent is to demonstrate that the volume should be read above all as a first formulation of the poetics of the writer Morselli, despite the author stating that his purpose was to encourage the reading or re-reading of Proust’s Recherche. In the close analysis of the Morsellian text, the relationship of the Italian critic with Croce’s aesthetics is also mentioned.

Julia Kristeva lettrice di Proust: il tempo del sensibile e il sensibile come tempo, di Giovanna Russo

Abstract: The multitude of studies, essays and research papers on the work and life of Marcel Proust can surely be considered as the “reason” why some interpretations of his work are only superficially examined. Julia Kristeva, the renowned french philosopher and semiologist, has devoted a considerable amount of essays to Proust’s work and this paper focuses on one of them: Le temps sensible: Proust et l’expérience littéraire. Although many of these essays still have no foreign issues, Kristeva’s reading of the Recherche  is one the most original and complete, not only because of the wide range of subjects she masters – philosophy, semiotic, psychoanalysis – but even because she’s been able to found in Proust a sort of “modernity”. In line with the interpretations by Merleau-Ponty and Deleuze, Kristeva remarks how important is the sensitive dimension in Proust’s work and sheds light on its particular ideas of language and subjectivity: the reader would be able to experience himself the “sensitive time” Proust wanted to recreate in his writing and, by doing so, experiencing a sort of liberation from the usual human understanding of time.

La Recherche di Francesco Orlando. A proposito di In principio Marcel Proust, di Paolo Squillacioti

Abstract: Francesco Orlando (1934-2010) was one of the most attentive interpreters of À la recherche du temps perdu, but his production was entrusted to scattered and apparently discontinuous contributions. The recent publication of all of his writings on Proust (In principio Marcel Proust, a cura di L. Pellegrini, Milano, Nottetempo, 2022) allows us to verify how was instead profound and systematic his interpretation of the broadest and most stratified novel of the European twentieth century.

Recensioni

Stefano Brugnolo, Dalla parte di Proust (2022), di Simone Bacchelli

Alessandro Piperno, Proust senza tempo (2022), di Fabio Libasci

Valerio Magrelli, Proust e Céline. La mente e l’odio (2022), di Massimo Scotti

N. 45, vol. II