预售 英文预定 Proust and Signs: The Complete Text pmlz 2025 pdf 下载 kindle mobi docx 百度云

In a remarkable instance of literary and philosophical interpretation, the incomparable Gilles Deleuze reads Marcel Proust’s work as a narrative of an apprenticeship—more precisely, the apprenticeship of a man of letters. Considering the search to be one directed by an experience of signs, in which the protagonist learns to interpret and decode the kinds and types of symbols that surround him, Deleuze conducts us on a corollary search—one that leads to a new understanding of the signs that constitute A la recherche du temps perdu.

In Richard Howard’s graceful translation, augmented with an essay that Deleuze added to a later French edition, Proust and Signs is the complete English version of this work. Admired as an imaginative and innovative study of Proust and as one of Deleuze’s more accessible works, Proust and Signs stands as the writer’s most sustained attempt to understand and explain the work of art.

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Gilles Deleuze (1925–1995) was professor of philosophy at the University of Paris, Vincennes–St. Denis. With Félix Guattari, he coauthored Anti-Oedipus (1983) and A Thousand Plateaus (1987). Among his other works are Cinema 1 (1986), Cinema 2 (1989), Foucault (1988), The Fold (1992), Essays Critical and Clinical (1997), and Francis Bacon (2003), all published by the University of Minnesota Press.

Richard Howard has received the American Book Award and the PEN Translation Medal. He teaches in the School of the Arts at Columbia University.

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What constitutes the unity of In search of Lost Time? We know, at least, what does not. It is not recollection, memory, even involuntary memory.

The worldly sign does not refer to something, it "stands for it", claims to be equivalent to its meaning.It anticipates action as it does thought, annuls thought as it does action, and declares itself adequate: whence its stereotyped aspect and its vacuity. We must not thereby conclude that such signs are negligible.The apprenticeship would be imperfect and even impossible if it did not pass through them. These signs are empty, but this emptiness confers upon them a ritual perfection, a kind of formalism we do not encounter elsewhere.

An artist does not "age" because he re peats himsell, for repetition is the power of difference, no less than difference the power of repetition. An artist"ages"when, "by exhaustion of his brain, " he decides it is simpler to find directly in life, as though ready-made, what he can express only in his work, what he should have distinguished and repeated by means of his work (I, 852). The aging artst puts his trust in life, in the "beauty of life" he gets no more than substitutes for what constatutes art, repetitions that have become mechanical bcause they are external, frozen differences that revert to a substance that they can no longer make light and spiritual. Life does not have the two powers of art; it receives them only by corrupting them and reproduces essence only on the lowest lev...

To fall in love is to individualize someone by the signs he bears or emits. It is to become sensitive to these signs, to undergo an apprenticeship to them (thus the slow individualization of Albertine in the group of young girls). It may be that friendship is nourished on observation and conversation, but love is born from and nourished on silent interpretation.

The beloved appears as a sign, a “soul”; the beloved expresses a possible world unknown to us, implying, enveloping, imprisoning a world that must be deciphered, that is, interpreted. What is involved, here, is a plurality of worlds; the pluralism of love does not concern only the multiplicity of loved beings, but the multiplicity of souls or worlds in each of them. To love is to try to explicate, to develop these unknown worlds that remain enveloped within the beloved.

Who searches for truth? The jealous man, under the pressure of the beloved’s lies.

书籍介绍

In a remarkable instance of literary and philosophical interpretation, the incomparable Gilles Deleuze reads Marcel Proust’s work as a narrative of an apprenticeship—more precisely, the apprenticeship of a man of letters. Considering the search to be one directed by an experience of signs, in which the protagonist learns to interpret and decode the kinds and types of symbols that surround him, Deleuze conducts us on a corollary search—one that leads to a new understanding of the signs that constitute A la recherche du temps perdu.

In Richard Howard’s graceful translation, augmented with an essay that Deleuze added to a later French edition, Proust and Signs is the complete English version of this work. Admired as an imaginative and innovative study of Proust and as one of Deleuze’s more accessible works, Proust and Signs stands as the writer’s most sustained attempt to understand and explain the work of art.