By Martin Hägglund
ISBN-10: 0674066324
ISBN-13: 9780674066328
Marcel Proust, Virginia Woolf, and Vladimir Nabokov reworked the artwork of the radical to be able to express the event of time. however, their works were learn as expressions of a wish to go beyond time—whether via an epiphany of reminiscence, an immanent second of being, or a transcendent afterlife. Martin Hägglund takes on those issues yet provides them one other analyzing fullyyt. the phobia of time and demise doesn't stem from a wish to go beyond time, he argues. to the contrary, it's generated via the funding in temporal existence. From this vantage aspect, Hägglund deals in-depth analyses of Proust’s Recherche, Woolf’s Mrs. Dalloway, and Nabokov’s Ada.
via his readings of literary works, Hägglund additionally sheds new gentle on subject matters of large main issue within the humanities, together with time cognizance and reminiscence, trauma and survival, the know-how of writing and the classy energy of artwork. ultimately, he develops an unique concept of the relation among time and hope via an engagement with Freud and Lacan, addressing mourning and melancholia, excitement and soreness, attachment and loss. Dying for Time opens a brand new method of studying the dramas of wish as they're staged in either philosophy and literature.
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Extra info for Dying for Time: Proust, Woolf, Nabokov
Example text
As we will see, epiphany and aesthetic revelation in modernist literature still tends to be aligned with a supposed experience of timelessness. In contrast, I argue that it is rather the logic of chronolibido that is expressive of what is at stake in these literary works, even and especially in their moments of greatest significance and affective intensity. My ambition is thus not only to elucidate theoretical insights in the writings of Proust, Woolf, and Nabokov; it is also to show how they practice a chronolibidinal aesthetics, which depends on the attachment to mortal life and engages the pathos of survival in the experience of the reader.
The question, however, is how the juxtaposition of memory should be understood. Poulet himself insightfully argues that involuntary memory does not disclose a “positive existential dimension” (47), namely, a plenitude of life where nothing is lost. Rather, when memories make the past return it is “a past irremediably finished that they relate, a past that never ceases to be separated from us by the very distance, so that the latter, far from being suppressed, is on the contrary rendered more cruelly distinct by the movement of mnemonic thought, which, in traveling all the way, has more clearly revealed the length of time” (46).
2 The scene belongs to a section called Les intermittences du coeur, a title that Proust first planned to use for the novel as a whole. While the novel title changed, the experience of involuntary memory—and the intermittences of the heart that it records—remains central to the Recherche. Indeed, the notion of involuntary memory is generally held to be the hermeneutic key to the novel and the search for an aesthetic vocation that pervades it. From early childhood, Marcel wants to become a writer, but he is plagued by doubts about his talent.
Dying for Time: Proust, Woolf, Nabokov by Martin Hägglund
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