A study of English words and phrases in A la recherche du temps perdu, dealing with the social comedy of French 'Anglomania' and with Proust's understanding of the necessary 'impurity' of all languages and artistic creation. Karlin demonstrates that English is a significant presence in this French masterpiece.

For a century now, scholars have searched for the “source” of Marcel Proust’s startlingly innovative novel À la recherche du temps perdu. Some have pointed to Henri Bergson, Sigmund Freud, or Paul Sollier. Others have referenced the novels of Henry James. But no one has focused on the more significant influence of the writings of Henry’s older brother, the psychologist and Harvard professor William James. A close comparison reveals the degree to which Proust’s novel stems from James’s psychological and philosophical theories. William James was a prominent member of the scientific, medical and philosophical communities in Proust’s Paris and was close friends with two men well known to Proust. His works were translated into French and reviewed in French journals and newspapers. This book discloses how Proust likely became familiar with William James and illustrates how James’s writings were key to Proust’s ability to craft the book he had been trying to write, extending even to his use of similar language and imagery and a narrative schema that arguably mimics James’s descriptions of consciousness, perception, and memory. Proust’s hero assiduously explores the vague, uncertain, relational aspects of experience, the trials and comforts of habit, the salvational potential of memory, the “moral” aspects of personal history teeming with impression and desire—these are the truths of human psychology and behavior theorized by William James and made fictional flesh in Proust’s rendition of lived experience.

Proust's Cup of Tea analyzes Proust's reading of various Victorian authors and shows how they contributed to A la recherche du temps perdu. This book proves that British literature and art played a fundamental role in Proust's writing process by citing from the manuscript versions of his novel, as well as from his correspondence, essays and the lengthy critical appartus accompanying his translations of Ruskin. Eells reflects here on why Proust was attracted to Victorian culture, and how he incorporated it into his novel. The works of the British novelists he was most interested in-Thomas Hardy and George Eliot-address questions of gender which Proust develops in his own work. He builds Sodome et Gomorrhe I, the section of his novel focusing on homosexuality, on a series of explicit citations and guarded allusions to Shakespeare, Darwin Walter Scott, Oscar Wilde and Robert Louis Stevenson. Eells explores how Proust followed in the pioneering footsteps of those British writers who had ventured beyond the boundaries of conventional sexuality, though he took pains to erase their traces in the definitive version of his work. This study also highlights how Proust made his fictitious painter Elstir into a master of ambiguity, by modeling his art on Turner, the Pre-Raphaelites and Whistler. Eells shows that Proust drew on Victorian culture in his depiction of sexual ambiguity, arguing that he confounded eroticism and aestheticism in the way he inextricably linked the man-woman figure with British art and literature. As Proust aestheticized male and female homosexuality using references to British art and letters, Eells coins the term 'Anglosexuality' to refer to his characters of the third sex. She defines Anglosexuality as an intersexuality represented through intertextuality, as an artistic sensitivity, an aesthetic stance, and a new way of seeing. Proust's Cup of Tea thus demonstrates that Victorian culture and homoeroticism form one of the cornerstones of Proust's monumental work.

The book traces the literary journey that Proust’s work made to China and back by means of translation, intertextual engagement, and the creation of a transcultural dialogue through migrant literature. It begins with a translation history of Proust’s work in China and studies the different (re)translations and editions of La Recherche highlighting their culturally conditioned thematic emphases and negligence, such as time and memory over anti-Semitism and homosexuality. The book then moves on to explore three contemporary mainland Chinese writers’ creative intertextual engagement with Proust against the backdrop of China's explosive development from modernity to post-modernity in the 1990s. Finally, back to France, the book examines the multifarious literary relations between Proust and the Franco-Chinese migrant writer François Cheng. It demonstrates how the cultural heritages of China and the West can be re-negotiated and put into dialogue through the fictional and creative medium of literature, as well as providing a means of understanding the economic, political, and cultural exchanges in our current global context.

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. “It is strange,” Proust wrote in 1909, “that, in the most widely different departments . . . there should be no other literature which exercises over me so powerful an influence as English and American.” In the spirit of Proust’s admission, this engaging and critical volume offers the first comparative reading of the French novelist in the context of American art, literature, and culture. In addition to examining Proust’s key American influences—Ralph Waldo Emerson, Edgar Allen Poe, and James McNeill Whistler—Proust and America investigates the previously overlooked influence of the American neurologist George Beard, whose writings on neurasthenia and “American nervousness” contributed to the essential modernity of the author’s work.

From the author of the acclaimed Queen of Fashion--a brilliant look at the glittering world of turn-of-the-century Paris through the first in-depth study of the three women Proust used to create his supreme fictional character, the Duchesse de Guermantes. Geneviève Halévy Bizet Straus; Laure de Sade, Comtesse de Adhéaume de Chevigné; and Élisabeth de Riquet de Caraman-Chimay, the Comtesse Greffulhe--these were the three superstars of fin-de-siècle Parisian high society who, as Caroline Weber says, "transformed themselves, and were transformed by those around them, into living legends: paragons of elegance, nobility, and style." All well but unhappily married, these women sought freedom and fulfillment by reinventing themselves, between the 1870s and 1890s, as icons. At their fabled salons, they inspired the creativity of several generations of writers, visual artists, composers, designers, and journalists. Against a rich historical backdrop, Weber takes the reader into these women's daily lives of masked balls, hunts, dinners, court visits, nights at the opera or theater. But we see as well the loneliness, rigid social rules, and loveless, arranged marriages that constricted these women's lives. Proust, as a twenty-year-old law student in 1892, would worship them from afar, and later meet them and create his celebrated composite character for The Remembrance of Things Past.

In Proust’s Songbook, Jennifer Rushworth analyzes and theorizes the presence and role of songs in Marcel Proust’s novel À la recherche du temps perdu (In Search of Lost Time). Instead of focusing on instrumental music and large-scale forms such as symphonies and opera, as is common in Proust musical studies, Rushworth argues for the centrality of songs and lyrics in Proust’s opus. Her work analyzes the ways in which the author inserted songs at key turning points in his novel and how he drew inspiration from contemporary composers and theorists of song. Rushworth presents detailed readings of five moments of song in À la recherche du temps perdu, highlighting the songs’ significance by paying close attention to their lyrics, music, composers, and histories. Rushworth interprets these episodes through theoretical reflections on song and voice, drawing particularly from the works of Reynaldo Hahn and Roland Barthes. She argues that songs in Proust’s novel are connected and resonate with one another across the different volumes yet also shows how song for Proust is a solo, amateur, and intimate affair. In addition, she points to Proust’s juxtapositions of songs with meditations on the notion of “mauvaise musique” (bad music) to demonstrate the existence of a blurred boundary between songs that are popular and songs that are art. According to Rushworth, a song for Proust has a special relation to repetition and memory due to its typical brevity and that song itself becomes a mode of resistance in À la Recherche—especially on the part of characters in the face of family and familial expectations. She also defines the songs in Proust’s novel as songs of farewell—noting that to sing farewell is a means to resist the very parting that is being expressed—and demonstrates how songs, in formal terms, resist the forward impetus of narrative.

Adam Watt's critical study of Proust's A la recherche du temps perdu, focuses on the role of the acts of reading depicted in the seminal novel. Reading is shown to be a formative and often troubling force in the life of the novel's narrator.

This volume sets Marcel Proust's masterwork, Á la recherche du temps perdu (In Search of Lost Time, 1913–27), in its cultural and socio-historical contexts. Essays by the leading scholars in the field attend to Proust's biography, his huge correspondence, and the genesis and protracted evolution of his masterpiece. Light is cast on Proust's relation to thinkers and artists of his time, and to those of the great French and European traditions of which he is now so centrally a part. There is vivid exploration of Proust's reading; his attitudes towards contemporary social and political issues; his relation to journalism, religion, sexuality, science and travel, and how these figure in the Recherche. The volume closes with a comprehensive survey of Proust's critical reception, from reviews during his lifetime to the present day, including assessments of Proust in translation and the broader assimilation of his work into twentieth- and twenty-first-century culture.