[Autom. eng. transl.] A mysterious and elusive threshold between the soul and the body, a link that is woven between the individual and the collective, the voice is also - like all sensory rendering - at the heart of Proustian writing. Vocality is not oral: it refers in fact to the values proper to the human voice, to the presence and the radiance of a personality in space, even in time. Anchored to the body and to the body, the voice is what characterizes the individual as a singular being and what makes it possible to reveal fragments of his interior universe. Now, certain phrases of the Research, recognizable by their specific breakdown, seem to translate, by their nested and always panting syntax, a certain vocality, a phrasing with an organic base, thus showing that the voice is, paradoxical as it may seem, at the origin of the Proustian creation. We propose to show this "threshold" of the writing of research through the analysis of the passage concerning Albertine asleep ("watch it sleep", The Prisoner). We will show that "if the voice is nothing other than the movement of the molecules of the air under the impulse of a soul" (M. Schwob), it becomes especially for the Proustian hero a true hieroglyph to decipher: by the purificatory force of her silent breath, momentarily removed from all malice and all lies, Albertine reveals for a moment her original purity, with phrases that try to return, by a veritable crossing of the vocality, to the "pneumatic" foundation of the company of Proust.
|Translated title of the contribution||[Autom. eng. transl.] Vocals at the “threshold” of writing Research|
|Number of pages||8|
|Journal||BULLETIN MARCEL PROUST|
|Publication status||Published - 2016|
- "La regarder dormir"