Résumés
Abstract
This article deals with the committment of Proust to Ruskin as the moral authority of his time and, consequently, as a main influence on his own original work through the apprenticeship of translation. It examines these renderings (La Bible d’Amiens and Sesame et les lys) as transformations of allegory into symbol, foreshadowing his early Du côté de chez Swann and his final Le temps retrouvé) with the conclusion that Proust managed to realize the unity of abstract and concrete. Allegory, a Proustian “rhetorical trope” on the Cathedral of Amiens (according to De Man) and the Victorian public building, is such an abstraction opposite the concreteness and privacy of symbolism, the reality behind the trope as realized behind the styles of both Ruskin and Proust.
Mots-Clés/Keywords:
- vector,
- remembrance,
- reality,
- allegory,
- symbol
Résumé
Le présent article décrit le dévouement de Proust à Ruskin en tant qu’autorité morale de son siècle et l’influence marquée de ce dernier sur les oeuvres originales de Proust par l’intermédiaire de l’apprentissage de la traduction. L’étude examine les traductions de Ruskin par Proust (La Bible d’Amiens et Sésame et les lys) comme des transformations de l’allégorie en symbole influençant ses propres romans, Du côté de chez Swann au commencement de sa carrière et Le temps retrouvé à la fin. Elle conclut que Proust réussit à intégrer l’abstrait et le concret. L’allégorie, le « trope rhétorique » de la cathédrale d’Amiens (selon De Man) aussi bien que le style ampoulé d’un bâtiment public victorien, équivaut à cette abstraction, et le symbolisme concret gisant sous l’écorce du trope existe en fonction de la réalisation chez Ruskin et Proust. Tous deux réalisent et le sacré et le non-sacré ensemble.
Parties annexes
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