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"Un amour de Swann": Preparation, tr...

Munro, Linda Jean.

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"Un amour de Swann": Preparation, transitions, and meaning.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"Un amour de Swann": Preparation, transitions, and meaning./
Author:	Munro, Linda Jean.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1996,
Description:	309 p.
Notes:	Source: Dissertations Abstracts International, Volume: 58-04, Section: A.
Contained By:	Dissertations Abstracts International58-04A.
Subject:	Romance literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9638104
ISBN:	9780591036183

"Un amour de Swann": Preparation, transitions, and meaning.
Munro, Linda Jean.

"Un amour de Swann": Preparation, transitions, and meaning. - Ann Arbor : ProQuest Dissertations & Theses, 1996 - 309 p.

Source: Dissertations Abstracts International, Volume: 58-04, Section: A.

Thesis (Ph.D.)--University of Oregon, 1996.

This item must not be sold to any third party vendors.

The function of "Un amour de Swann" in Marcel Proust's A la recherche de temps perdu has always confounded critics. What is a third-person narrative about Charles Swann's love affair doing in the first-person, primary narrative of Marcel's quest for literary vocation? This study concludes that it is indispensable and intelligibly incorporated into the narrative via an interweaving network of themes, imagery, motifs, and narrative strategy. "Un amour" is Marcel's creative response to an involuntary memory generated by lilacs and based on the rapprochement of Marcel's and Swann's similar loves, or Proustian metaphor. Writing "Un amour" is Marcel's aesthetic rite of passage through the nineteenth-century novel, a journey during which he remembers his own Life anew and perceives its meaning in terms of love, society, and art. "Un amour" is also taken as a sustained metaphor that establishes the reality of Proustian love. "Combray" prepares for "Un amour" via a portrayal of Swann and the leitmotif of his "bad marriage" that provoke interest in why a notable man marries a common courtesan. This study examines transitional relationships between lilacs, the insomniac narrator who assesses the meaning of involuntary memories, and the Verdurin salon where Swann's love begins. Similarity typically figures in narrative transitions, here, the lilac and the Verdurin salon as dense arrangements of similar entities. Related links of contrast are pursued via sacred and profane love, and the semantics of density in relation to Marcel's desire for reassurance: freedom in nature versus conformity and social acceptance. Similarity is operative in the transition to "Noms de pays: le nom" via bedrooms, the seashore, and the semantics of waves in relation to loss of reassurance: Swann's "seashore dream" reveals Odette will never love him; Marcel's "seaside bedroom" is associated with the absent, beloved mother. The dissimilarity between imagination and reality links both narratives via Swann's and Marcel's misguided loves. "Combray" prepares for "Noms de pays" via Marcel's love for Gilberte and sea imagery. The transitions are further unified by mnemonic objects, shell imagery, the mother motif, and authorial commentary that are associated with narrative production and meaning.

ISBN: 9780591036183Subjects--Topical Terms:

2144781
Romance literature.

"Un amour de Swann": Preparation, transitions, and meaning.
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300 $a 309 p.
500 $a Source: Dissertations Abstracts International, Volume: 58-04, Section: A.
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520 $a The function of "Un amour de Swann" in Marcel Proust's A la recherche de temps perdu has always confounded critics. What is a third-person narrative about Charles Swann's love affair doing in the first-person, primary narrative of Marcel's quest for literary vocation? This study concludes that it is indispensable and intelligibly incorporated into the narrative via an interweaving network of themes, imagery, motifs, and narrative strategy. "Un amour" is Marcel's creative response to an involuntary memory generated by lilacs and based on the rapprochement of Marcel's and Swann's similar loves, or Proustian metaphor. Writing "Un amour" is Marcel's aesthetic rite of passage through the nineteenth-century novel, a journey during which he remembers his own Life anew and perceives its meaning in terms of love, society, and art. "Un amour" is also taken as a sustained metaphor that establishes the reality of Proustian love. "Combray" prepares for "Un amour" via a portrayal of Swann and the leitmotif of his "bad marriage" that provoke interest in why a notable man marries a common courtesan. This study examines transitional relationships between lilacs, the insomniac narrator who assesses the meaning of involuntary memories, and the Verdurin salon where Swann's love begins. Similarity typically figures in narrative transitions, here, the lilac and the Verdurin salon as dense arrangements of similar entities. Related links of contrast are pursued via sacred and profane love, and the semantics of density in relation to Marcel's desire for reassurance: freedom in nature versus conformity and social acceptance. Similarity is operative in the transition to "Noms de pays: le nom" via bedrooms, the seashore, and the semantics of waves in relation to loss of reassurance: Swann's "seashore dream" reveals Odette will never love him; Marcel's "seaside bedroom" is associated with the absent, beloved mother. The dissimilarity between imagination and reality links both narratives via Swann's and Marcel's misguided loves. "Combray" prepares for "Noms de pays" via Marcel's love for Gilberte and sea imagery. The transitions are further unified by mnemonic objects, shell imagery, the mother motif, and authorial commentary that are associated with narrative production and meaning.
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