1.

Record Nr.

UNINA9910778868703321

Autore

Finn Michael R.

Titolo

Proust, the body, and literary form / / Michael R. Finn [[electronic resource]]

Pubbl/distr/stampa

Cambridge : , : Cambridge University Press, , 1999

ISBN

1-107-11629-5

0-511-00507-5

1-280-16194-9

0-511-11732-9

0-511-14941-7

0-511-30964-3

0-511-48575-1

0-511-05163-8

Descrizione fisica

1 online resource (viii, 207 pages) : digital, PDF file(s)

Collana

Cambridge studies in French ; ; 59

Disciplina

843/.912

Soggetti

Neuroses in literature

Hysteria in literature

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Title from publisher's bibliographic system (viewed on 05 Oct 2015).

Nota di bibliografia

Includes bibliographical references and index.

Nota di contenuto

; 1. Proust between neurasthenia and hysteria. Nervous precursors. The novel of the neurasthenic. Writing and volition. Involition's way. Neurasthenia: diagnosis and response -- ; 2. An anxiety of language. Speaking the Other. The language hysteria of Sainte-Beuve. Voicing Bergotte -- ; 3. Transitive writing. Correspondence. Journalism. Literary criticism. The pastiche: 'notre voix interieure' -- ; 4. Form: from anxiety to play. Closure. Openness and incompletion. Structure as iteration. Marcel's voice: the recurring author.

Sommario/riassunto

This 1999 study examines the connections between Proust's fin-de-siècle 'nervousness' and his apprehensions regarding literary form. Michael Finn shows that Proust's anxieties both about bodily weakness and about novel-writing were fed by a set of intriguing psychological and medical texts, and were mirrored in the nerve-based afflictions of earlier writers including Flaubert, Baudelaire, Nerval and the Goncourt



brothers. Finn argues that once Proust cast off his concerns about being a nervous weakling he was freed to poke fun both at the supposed purity of the novel form. Hysteria - as a figure and as a theme - becomes a key to the Proustian narrative, and a certain kind of wordless, bodily copying of gesture and event is revealed to be at the heart of a writing technique which undermines many of the conventions of fiction.