Proust's Imaginary Museum
This study of Marcel Proust's creative imagination examines an aspect of the novel that has hitherto been largely overlooked: the author's dependence on secondary visual sources. Proust made constant use of reproductions - photographs, engravings, postcards, illustrations in books - as sources of reference and as narrative devices in their own right. Furthermore, he consistently chose to use reproductions in preference to originals, whether people, places or works of art. Bringing together for the first time a mass of factual information documenting Proust's use of second-hand images, the author argues that reproductions play a key role in the work's complex, multi-layered structure. Rather than being hampered by their limitations, Proust took advantage of their distancing effect to free his imagination and to insert new layers of meaning into his narrative.
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Albertine artist avait Balbec Barthes Barthes's beauty Bergotte Berma bien blue Botticelli's c'est camera Carpaccio Chambre claire characters church colour Combray copy Corr d'art d'une death described desire detail disappointment edition Elstir's episode etait example experience fait fiction figure Fortuny Gerard Genette Giotto's Goncourt Guermantes Ibid imagination involuntary memory J. M. W. Turner leitmotif look Malcolm Bowie Marcel Proust meme metaphor Mme de Guermantes monde Montjouvain mur jaune narrative Narrator Narrator's novel object Odette Padua painting pan de mur Paris passage past pastiche petit pan photograph picture Pleiade portrait present Proustian qu'elle qu'il qu'on quoted reality recherche du temps reference reproduced images reproductions Roland Barthes role RTP IV Ruskin scene seems seen sense seul significance souvenir Swann temps perdu Temps retrouve tout Venice Vermeer View of Delft vision visual voir voyeur Walter Benjamin words writing Zipporah