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By Richard E. Goodkin

A research in obsession, Marcel Proust's A los angeles recherche du temps perdu is apparently a self-sufficient universe of exceptional inner consistency and but is filled with complicated, gargantuan digressions. Richard Goodkin follows the twin spirit of the radical via hugely suggestive readings of the paintings in its interactions with song, psychoanalysis, philosophy, and cinema, and such literary genres as epic, lyric poetry, and tragedy. In exploring this interesting intertextual community, Goodkin unearths a few of Proust's much less noticeable artistic resources and considers his effect on later artwork varieties. The creative and highbrow entities tested when it comes to Proust's novel are super varied, coming from classes starting from antiquity (Homer, Zeno of Elea) to the Nineteen Fifties (Hitchcock) and belonging to the cultures of the Greek, French, German, and English-speaking worlds. however number of shape and viewpoint, all of those analyses proportion a typical technique, that of "digressive" analyzing. They discover Proust's novel not just in gentle of such recognized passages as these of the madeleine and the good-night kiss, but in addition at the foundation of probably small info that eventually take us, just like the novel itself, in unforeseen instructions.

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452–53); these are the famous lines that end the first half of the Odyssey. One of the reasons Odysseus does not repeat the end of his story is that if he did so, the events of the entire story would be in the right order, and his story would be over. The narrative strongly suggests that Odysseus cannot tell the story straight until he gets home. 310–43), when the forward impulse of the narrative has been satisfied; moreover, this final narration marks the end of the act of narration in two ways.

First, Odysseus ends his story with the journey from the Phaiakians’ island to Ithaka, a trip during which he is asleep, and as he is narrating this, he falls asleep himself: in the act of narrating, he is doing the same thing that is going on within the story itself. 342–43). 79–80)—or does it come once he has actually finished telling the story? Since he falls asleep telling a story about falling asleep, we cannot say: the very act of narration seems to disappear, to be absorbed by the events described in the narration.

But what a surprise for me! His voice seemed to come from an extremely accurate phonograph, for if it was my friend’s voice, it came from a fat, graying chap that I didn’t know. . Still I knew it was he: the person who had introduced us after so much time hadn’t been the slightest bit mysterious. . I tried to remember. In his youth he had blue, perpetually laughing eyes, always mobile, obviously in search of something. . But now, since he had become an influential politician, capable and despotic, his blue eyes, which by the way hadn’t found what they were looking for, had become immobilized.

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