This essay presents the Recherche's narrator as an expert in a world of experts. Considering previous scholarship on the sociological knowledge present in Proust's novel, I imagine the pursuit of this knowledge as characterizing its narrator, distinguishing him from the other specialists who populate the pages of his récit. Drawing on the work of Gil Eyal, I read this récit as displaying a marked attention to the ‘networks of expertise’ in which these other experts make their knowledge effective. The récit's language, meanwhile, provides information on the network of expertise in which the narrator himself must operate to assume the social position of expert. Ultimately, I argue that thinking about the narrator and his writing in terms of expertise allows us to ironize the narrator's knowledge about the social world. From this ironic distance, the Recherche becomes not a vehicle of such knowledge but an experience of it.
{"title":"‘An eye more penetrating than other men's’: Finding the Recherche's Narrator in a World of Experts","authors":"Ben Beitler","doi":"10.3366/para.2022.0387","DOIUrl":"https://doi.org/10.3366/para.2022.0387","url":null,"abstract":"This essay presents the Recherche's narrator as an expert in a world of experts. Considering previous scholarship on the sociological knowledge present in Proust's novel, I imagine the pursuit of this knowledge as characterizing its narrator, distinguishing him from the other specialists who populate the pages of his récit. Drawing on the work of Gil Eyal, I read this récit as displaying a marked attention to the ‘networks of expertise’ in which these other experts make their knowledge effective. The récit's language, meanwhile, provides information on the network of expertise in which the narrator himself must operate to assume the social position of expert. Ultimately, I argue that thinking about the narrator and his writing in terms of expertise allows us to ironize the narrator's knowledge about the social world. From this ironic distance, the Recherche becomes not a vehicle of such knowledge but an experience of it.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47795846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Proust's Recherche includes detailed depictions of political mentalities that reveal the critical influence of socio-economic structures without foreclosing the possibility of individual autonomy. His novel also draws attention to a factor that seems resistant to formal social-scientific analysis, namely the role of emotional contingency in shaping individuals’ political views. The capriciousness displayed by Proust's characters in their approach to the Dreyfus Affair and other political controversies comes to epitomize a broader pattern of emotional volatility within high politics during the First World War and its aftermath. That caustic vision of how politics works remains pertinent in our own time, as the rebirth of charismatic authority and performative transgression transform politics into a contest of volatile polarizing enthusiasms.
{"title":"Proust's Political Emotions","authors":"Max McGuinness","doi":"10.3366/para.2022.0386","DOIUrl":"https://doi.org/10.3366/para.2022.0386","url":null,"abstract":"Proust's Recherche includes detailed depictions of political mentalities that reveal the critical influence of socio-economic structures without foreclosing the possibility of individual autonomy. His novel also draws attention to a factor that seems resistant to formal social-scientific analysis, namely the role of emotional contingency in shaping individuals’ political views. The capriciousness displayed by Proust's characters in their approach to the Dreyfus Affair and other political controversies comes to epitomize a broader pattern of emotional volatility within high politics during the First World War and its aftermath. That caustic vision of how politics works remains pertinent in our own time, as the rebirth of charismatic authority and performative transgression transform politics into a contest of volatile polarizing enthusiasms.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45268911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents a catalogue of some of the ways in which Proust's novel fails to make sense. The major categories of non-sense examined here are: minor inconsistencies due to the unfinished quality of the work; chronological incoherences; and inconsistent distinctions between narrator and author, with particular attention to textual entailments of the differences between the author and his semi-autobiographical narrator in terms of homosexuality, Jewishness and snobbery.
{"title":"Proustian Nonsense: A Partial Taxonomy","authors":"Elisabeth Ladenson","doi":"10.3366/para.2022.0383","DOIUrl":"https://doi.org/10.3366/para.2022.0383","url":null,"abstract":"This article presents a catalogue of some of the ways in which Proust's novel fails to make sense. The major categories of non-sense examined here are: minor inconsistencies due to the unfinished quality of the work; chronological incoherences; and inconsistent distinctions between narrator and author, with particular attention to textual entailments of the differences between the author and his semi-autobiographical narrator in terms of homosexuality, Jewishness and snobbery.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46534747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French soil. Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art.
{"title":"The Great Prehistoric Art Swindle: André Breton and Palaeolithic Cave Painting","authors":"Douglas Smith","doi":"10.3366/para.2021.0376","DOIUrl":"https://doi.org/10.3366/para.2021.0376","url":null,"abstract":"At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French soil. Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48781044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Negative handprints or hand-stencils, which occur in many prehistoric sites around the world, occupy a particular place in accounts of rock art. Although they frequently occur alongside paintings, their indexical status as imprints leads them to be treated separately from other types of representations that are more easily accepted as such. This article argues that the negative handprint operates as a kind of limit-case for definitions of art. I examine how it has given rise to imagined scenarios of making — what we might call primal scenes of art — by writers including Georges Bataille, Maurice Blanchot and Marguerite Duras. While its logic of presence invites us to think about it as a point of origin, a trace that connects us to our earliest human ancestors, I show how it can be read against that logic of presence through the lens of one particular ‘primal scene’, that imagined by Jean-Luc Nancy. In this reading, it is precisely the question of absence or distance that gives the handprint its status as a point of origin that undoes the very idea of origins.
{"title":"‘La Main négative’: Limit-Case and Primal Scene of Art","authors":"Johanna Malt","doi":"10.3366/para.2021.0375","DOIUrl":"https://doi.org/10.3366/para.2021.0375","url":null,"abstract":"Negative handprints or hand-stencils, which occur in many prehistoric sites around the world, occupy a particular place in accounts of rock art. Although they frequently occur alongside paintings, their indexical status as imprints leads them to be treated separately from other types of representations that are more easily accepted as such. This article argues that the negative handprint operates as a kind of limit-case for definitions of art. I examine how it has given rise to imagined scenarios of making — what we might call primal scenes of art — by writers including Georges Bataille, Maurice Blanchot and Marguerite Duras. While its logic of presence invites us to think about it as a point of origin, a trace that connects us to our earliest human ancestors, I show how it can be read against that logic of presence through the lens of one particular ‘primal scene’, that imagined by Jean-Luc Nancy. In this reading, it is precisely the question of absence or distance that gives the handprint its status as a point of origin that undoes the very idea of origins.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47922025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics.
{"title":"Prehistoric Cave Art: From Image to Graphic Narration","authors":"M. Azéma","doi":"10.3366/para.2021.0377","DOIUrl":"https://doi.org/10.3366/para.2021.0377","url":null,"abstract":"This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42118389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Interview with Margaret Elphinstone","authors":"","doi":"10.3366/para.2021.0378","DOIUrl":"https://doi.org/10.3366/para.2021.0378","url":null,"abstract":"","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48587626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article's polemical thrust begins with Georges Bataille's 1956 critique of Tristes Tropiques, where Lévi-Strauss omits the Palaeolithic while extolling the Neolithic advent of agriculture and sedentism. Whereas Lévi-Strauss describes his own thinking as Neolithic, he characterizes it in ways that resemble the behaviour of hunter-gatherers and nomads. I trace this contradiction to current scholarship willing to challenge the long-standing narrative bias that either ignores the Palaeolithic and/or derides it in favour of the Neolithic, now subject to refutations of its alleged advantages. Further theoretical backbone is provided by Ibn Khaldun and Bataille on the centrality of luxury. Thus, Palaeolithic cave art's social dimension as the expression of a privileged few is contrasted with the view of scholars who see it as the product of an egalitarian society indifferent to material gain. Bataille remains a key reference due to his exceptional commitment to prehistory, a relatively underexploited facet of his work.
{"title":"Palaeo or Neo? Bataille, Lévi-Strauss and the Rewriting of Prehistory","authors":"Michèle H. Richman","doi":"10.3366/para.2021.0372","DOIUrl":"https://doi.org/10.3366/para.2021.0372","url":null,"abstract":"This article's polemical thrust begins with Georges Bataille's 1956 critique of Tristes Tropiques, where Lévi-Strauss omits the Palaeolithic while extolling the Neolithic advent of agriculture and sedentism. Whereas Lévi-Strauss describes his own thinking as Neolithic, he characterizes it in ways that resemble the behaviour of hunter-gatherers and nomads. I trace this contradiction to current scholarship willing to challenge the long-standing narrative bias that either ignores the Palaeolithic and/or derides it in favour of the Neolithic, now subject to refutations of its alleged advantages. Further theoretical backbone is provided by Ibn Khaldun and Bataille on the centrality of luxury. Thus, Palaeolithic cave art's social dimension as the expression of a privileged few is contrasted with the view of scholars who see it as the product of an egalitarian society indifferent to material gain. Bataille remains a key reference due to his exceptional commitment to prehistory, a relatively underexploited facet of his work.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47761860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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