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Contributing to the current lively discussion of collaboration in French letters, this collection raises fundamental questions about the limits and definition of authorship in the context of the nineteenth century's explosion of collaborative ventures. While the model of the stable single author that prevailed during the Romantic period dominates the beginning of the century, the authority of the speaking subject is increasingly in crisis through the century's political and social upheavals. Chapters consider the breakdown of authorial presence across different constructions of authorship, including the numerous cenacles of the Romantic period; collaborative ventures in poetry through the practice of the "Tombeaux" and as seen in the Album zutique; the interplay of text and image through illustrations for literary works; the collective ventures of literary journals; and multi-author prose works by authors such as the Goncourt brothers and Erckmann-Chatrian. Interdisciplinary in scope, these essays form a cohesive investigation of collaboration that extends beyond literature to include journalism and the relationships and tensions between literature and the arts. The volume will interest scholars of nineteenth-century French literature, and more generally, any scholar interested in what's at stake in redefining the role of the French author
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Paul Harrison
reviewed Models of Collaboration in Nineteenth-Century French Literature on November 04, 2015
Models of Collaboration in Nineteenth-Century French Literature
Thought provoking. Twenty years old but still refreshing. Less a celebration that a rational investigation. "Apologia for Metaphor" and "Embodied Time" were the strongest lectures here for me.
In her third lecture: Wonderful sustained reading of P in relation to his creation of images ("impressions") via metonymy and analogy, metaphors gifted with more than counter poise between two objects. Reminded me a little of De Man. Offers a great close reading of Swann using above framework: "Odette becomes analogous to the 'little phrase'". As Kristeva says for Proust "the analogical is the ontological. Proustian metaphor brings together appearances, but it also reveals the profundity of being." As she says, through this movement and side by side display, "life acquires depths." His artistic project is mediated through the lens of the analogical/ontological distinction, elevating art above straight reflection and ratiocination (pg67). The same process linking the novel internally through its constructed time, and mentally in the readers mind, till triumph of that same project at novel's close. Kristeva suggests Prousts legacy beyond his descendants and contemporaries, his continued readership and relevance is precisely because of the investigative, artistic method. (73)
Lecture on the madeleine more concerned with showing Kristeva's intellectual dexterity, at expense of lecture's credibility (incest theme, mother based eroticism). Excusable due to her intellectual debts and background (Freud).
Sums up Bergotte as anti-Proust = ("like")
Counters Deleuze's neo-Platonistic reading.
Sees Narrators disappointment with Fauborg as "an empty centre" around which the novel revolves.
Draws our attention to the 'insanity of a dog' idea which reminded me of Francoise's pithy saying about a certain something smelling of roses, which Davis renders well, but could be even stronger.
Nice bit about all other arts being 'enslaved to mimesis'. Foregrounding again the majesty of Proust's fictional edifice. Reminds us at close of his cathedral metaphor, one I am unwilling to fully subscribe to.
Small book but idea to page ratio is high. Recommended.
"Review" (jottings) written in iPhone. Corrections to (probably) follow.
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