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| 2021/07/27 04:27:59瀏覽522｜回應0｜推薦13 | |
| Excerpt：The Oxford Companion to English Literature-something about Proust 從這一類的專業詞典也能讀出樂趣嗎？答案當然是肯定的，試著找出跟 Proust 相關的詞彙，看編者如何深入淺出、簡要敘述，讓我們重新認識。 https://www.amazon.com/Oxford-Companion-English-Literature/dp/0198614535 The Oxford Companion to English Literature 6th Edition by Margaret Drabble (Editor) The first edition of The Oxford Companion to English Literature, edited by Sir Paul Harvey, was published in 1932, and quickly established itself as the standard source of reference for scholars, students, and general readers alike. In 1985, under the editorship of Margaret Drabble, the text was thoroughly and sensitively revised to bring it up to date. The sixth edition, published in 2000, was extensively revised, expanded, and updated. Almost 600 new entries covered new writers, genres, and issues, and existing entries were reworked to incorporate the latest scholarship. [Excerpt] A la recherche du temps perdu, a novel by M. *Proust, published in seven sections between 1913 and 1927. The English translation by C. K. Scott Moncrieff, Remembrance of Things Past, appeared between 1922 and 1931; a fully revised version of this translation by Terence Kilmartin was published in 1981, and further revisions suggested in part by the second Pléiade edition of 1987-9, ed. Jean-Yves Tadié, were made by D. J. *Enright, 1992, after Kilmartins death. The seven sections of the novel are: Du Côté de chez Swann (1913, Swanns Way), A lombre des jeunes filles en fleurs (1919, Within a Budding Grove), Le Côté de Guermantes (1920-1, The Guermantes Way), Sodome et Gomorrhe (1921-2, Cities of the Plain), La Prisonnière (1923, The Captive), Alberane disparue, now renamed La Fugitive (1925, The Sweet Cheat Gone), and Le Temps retrouvé (1927, Time Regained). A la recherche is a novel of circular construction: it ends with the narrator Marcels discovery of his artistic vocation, a discovery which will lead him to the writing of the book the reader has just experienced. The dominant tone of the work is one of loss, of despair at the apparent irrecoverability of past experience and regret at the vanity of human relationships and of human endeavour seen in the perspective of the destructive power of time. The search proclaimed in the novels title is, however, vindicated by the narrators discovery that the past is, in fact, eternally alive in the unconscious, and that it may be rescued from oblivion, either through the chance operation of sensory perception (the power of involuntary memory) or through the agency of the work of art. But if the novel is thus fundamentally an account of an artistic vocation, the narrators progress is characterized by a sustained analysis of a wide range of subjects: the psychology of family relationships and of sexual relations, both homosexual and heterosexual; the aesthetics of the novel, of music, and of painting; and the fluidity of contemporary French society, satirized through the rise of the rich and vulgar Madame Verdurin into the ranks of the declining Guermantes aristocracy. Biography is as old as gossip, and may be as ephemeral. Yet in the last 40 years it has achieved a Golden Age, and found a favoured if controversial place in literary and intellectual life. It has risen to power as virtually a new genre, challenging the novel in its ability to depict character and explore ideas through narrative, with some 3,500 new subjects appearing each year. But it has also courted sensationalism and scandal. […] Far from undermining mainstream biography, these experiments have encouraged ever more detailed research, with finer and more stylish narrative techniques. This is especially true in literary biography, which has returned with great confidence to the large, comprehensive form of Life and Work considered as a single dramatic and psychological unity. Outstanding among these are Richard *Ellmanns scholarly Irish trilogy, lives of *Yeats (1948), *Joyce (1959), and *Wilde (1987), and Michael *Holroyds flamboyant and socially expansive portraits of Lytton Strachey (1967-8, a tragicomic masterpiece of Bloomsbury life), Augustus *John (1974-5), and G. B. *Shaw (1988-92). New ground has also been broken with Ray Monks limpid philosophical lives of *Wittgenstein (1990) and Bertrand *Russell (1995), Peter *Ackroyds Dickens (1990, with fictional interludes), and Hermione Lees fine thematic approach to the life of Virginia Woolf (1996). An older tradition of colonizing European subjects, initiated by G. H. *Lewess Goethe (1855), has reemerged with George Painters Proust (1959), David Sweetmans Picasso (1973), and Graham Robbs vigorous portraits of *Balzac (1994) and *Hugo (1997). Criterion (1922-39), an influential literary periodical launched as a quarterly and edited by T. S. *Eliot; *The Waste Land appeared in its first issue. It became the New Criterion in 1926, and in 1927, briefly, the Monthly Criterion, but then reverted to its original title and quarterly publication. It included poems, essays, short stories, and reviews, and published work by * Pound, *Empson, *Auden, *Spender, *Grigson, etc.; it also introduced the work of *Proust, *Valéry, *Cocteau, and other European writers.[…] PROUST, Marcel (1871-1922), French novelist, essayist, and critic, author of *A la recherche du temps perdu (1913-27; Remembrance of Things Past, 1922-31). In the 1890s Proust moved in the most fashionable Parisian circles, but in later years became a virtual recluse, dedicating himself to the completion of A la recherche, which occupied him till the end of his life. In 1896 he published a collection of essays, poems, and short stories, Les Plaisirs et les jours (Pleasures and Regrets, 1948), and in the period c. 1896-1900 worked on an early version of A la recherche which was published posthumously, as Jean Santeuil, in 1952 (English trans. 1955). He was actively involved, on the side of *Dreyfus, in the Dreyfus case of 1897-9. Around 1899 he discovered *Ruskins art criticism, and subsequently translated Ruskins The Bible of Amiens and Sesame and Lilies into French. In 1919 he published a collection of literary parodies, Pastiches et mélanges. He explored his own literary aesthetic in Contre Sainte-Beuve (1954; By Way of Sainte-Beuve, 1958), where he defines the artists task as the releasing of the creative energies of past experience from the hidden store of the unconscious, an aesthetic which found its most developed literary expression in A la recherche. |
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