Metaphor in M. Proust’s Artistic World: From the Being of Art to the Art of Being

N. Astrakhan
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Abstract

The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer. The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artistic whole of the novel sequence as an author, a narrator and a character. The author organizes the work of involuntary memory, based on the metaphor; the narrator balances what has been fished out of the past against the present with the help of experience associations; the character experiences the impressions by going through discoveries and disappointments. Proust’s lyrical epos gives the subject the ability to move beyond the hellish circle of the present into timeless dimensions. The novels created by the author and the character, intersect creating the effect of full being, allowing the subject of creative consciousness to recover its identity by overcoming painful contradictions of individual existence in the artistic creativity as in the dialogical interaction with the other. By using the formal and the hermeneutical methods with the emphasis on the philosophy of dialogue, the article explores the peculiarities of metaphor functioning at the macro- and microlevels. The former allows to construct the experimental picture of the world at the intersection of different time-space spheres that correlate with each other due to the spiritual and intellectual efforts of the subject. The latter allows us to consider the artistic image based on metaphor the core of the modernist writer’s artistic style and the way to the new concept of artist and art.
普鲁斯特艺术世界中的隐喻:从艺术的存在到存在的艺术
本文论述了隐喻在普鲁斯特艺术世界中的作用。在小说序列《寻找逝去的时间》的背景下,隐喻成为一种实现非自愿记忆的机制,它允许将现在(印象)和过去(记忆)结合起来。印象与记忆之间的联想联系所赋予的隐喻,成为法国作家创造的现实艺术模式的主要建构规律。隐喻的多功能性与意识主体的三种形式有关,这三种形式出现在小说序列的艺术整体中,分别是作者、叙述者和人物。作者在隐喻的基础上组织了非自愿记忆的工作;叙述者在经验联想的帮助下,平衡了从过去和现在中捞出的东西;角色通过经历发现和失望来体验印象。普鲁斯特抒情的epos赋予了主题超越当下地狱般的圈子进入永恒维度的能力。作者和人物创作的小说,在艺术创作中,在与他人的对话互动中,通过克服个体存在的痛苦矛盾,使创作意识主体得以恢复其身份。本文运用形式学和解释学的方法,以对话哲学为重点,从宏观和微观两个层面探讨隐喻功能的特殊性。前者允许在不同时空领域的交叉点构建世界的实验画面,由于受试者的精神和智力努力,这些时空领域相互关联。后者使我们能够将基于隐喻的艺术形象视为现代主义作家艺术风格的核心,以及通往艺术家和艺术新概念的途径。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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