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The Guermantes way af Marcel Proust
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The Guermantes way (original 1920; udgave 2003)

af Marcel Proust, Mark Treharne, Christopher Prendergast

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingSamtaler / Omtaler
2,690395,297 (4.3)2 / 103
An authoritative new edition of the third volume in Marcel Proust's epic masterwork, In Search of Lost Time Marcel Proust's monumental seven-part novel In Search of Lost Time is considered by many to be the greatest novel of the twentieth century. This edition of volume three, The Guermantes Way, is edited and annotated by noted Proust scholar William C. Carter, who endeavors to bring the classic C. K. Scott Moncrieff translation closer to the spirit and style of the author's original text. Continuing the story begun in Swann's Way and In the Shadow of Young Girls in Flower, The Guermantes Way follows Proust's young protagonist as he advances through aristocratic French society in late-nineteenth-century Paris. A departure from the intimacy of the sprawling novel's previous two installments, part three unfolds against a colorful backdrop of Parisian life, moving from literary salon to opulent social gathering to provide a biting and satirical commentary on culture, human foibles, the ways of the world, and the irretrievable loss of time.… (mere)
Medlem:Estragon1958
Titel:The Guermantes way
Forfattere:Marcel Proust
Andre forfattere:Mark Treharne, Christopher Prendergast
Info:London : Penguin, 2003, ©2002.
Samlinger:Dit bibliotek
Vurdering:*****
Nøgleord:Ingen

Work Information

Vejen til Guermantes af Marcel Proust (1920)

  1. 00
    Far Goriot af Honoré de Balzac (Cecrow)
    Cecrow: A different, earlier look at the Fauborge Saint-Germain.
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» Se også 103 omtaler

Engelsk (33)  Hollandsk (2)  Fransk (2)  Svensk (1)  Spansk (1)  Alle sprog (39)
Viser 1-5 af 39 (næste | vis alle)
Whee!! Oh Lord.
  RachelGMB | Dec 27, 2023 |
What a combination of beautiful scenes, near slapstick comedy, sharp social and political insight and too often endlessly boring accounts of upper class conversations. The section describing his grandmother's death is incredibly moving, the most lovely writing in the three volumes I've read so far. His detailed descriptions of the salon is worthy of any ethnographer using the participant observation method of research. In fact, while I was working my way through the famous dinner at the Guermantes' I kept thinking of Proust as a sociologist as opposed to novelist, though the two professions are quite complementary so maybe he can wear both hats. After a bit of a well-earned break I will most definitely be forging on to volume 4. ( )
  lschiff | Sep 24, 2023 |
As Proust's narrator grows up his narrative becomes drier and less whimsical. There is a larger focus on French society and the titles within it. We move beyond intimate portraits of individuals, but Proust is careful to let his narrator grow through the people he meets and the obsessions he develops. TI was struck by the genius of lines well delivered. For example, "Perhaps another winter would level her with the dust" (p 275). In the end I found myself asking, how do you cope with a love that is held only by the games one plays? Is this a form of emotional hostage-taking? What will become of one so enamored with another? ( )
  SeriousGrace | Feb 20, 2023 |
Proust is one writer I feel like I can relax when I read him. Hoping to read the next volume soon this year, need a little break though. ( )
  Ghost_Boy | Aug 25, 2022 |
In the same sense as a writer's writer, a comedian's comedian, etc., Proust's unnamed narrator is a daydreamer's daydreamer. His diligent categorization of minutiae goes beyond the surface detail of simple occurrence or observation, plumbing the depths of that instant in time or a passing turn of phrase, turning the everyday into the epic. This is particularly in keeping with the third volume's theme which explores his desire to enter society, symbolized by his joining the Guermantes' salon. The narrator justifies his longing, arguing that achieving the highest social standing should surround him with a correspondingly elevated degree of intelligence and originality that he wants to maximize his exposure to, but there's a hole in his theory. Just as with prior anticipations, he imagines it will be like diving into the deep waters of Plato's land of ideals but finds himself in the kiddie pool.

I was much more conscious this time of how the narrator lays claim to perfect knowledge. Frequently he is reading minds, relating the very thoughts of others. While the story is always told in first person, there are things only an omniscient narrator could know, such as what Rachel is actually plotting or will do when the narrator is not around, and the way that he relates two separate conversations line for line in a drawing room, happening simultaneously and at opposite room ends that he could not possibly both be following. The narrator's commentary on those conversations is also flawless. He is either the most adept and insightful person in the room even at his young and inexperienced age, or we must allow he is able to combine perfect memory with carefully studied retrospection. This first person omniscient perspective makes it difficult, if not impossible, to judge or assess the narrator as a character. I do not know if he is admiring or poking fun at society, if he is being objective or being judgmental of women, etc. Consequently, I can't even say whether I like him or empathize with him. I choose to trust him as being faithful to what he is depicting, and that's as far as it goes. To the extent that he does exist as a character, I'm not entirely convinced of the means by which he gets access to this highest echelon of society. He seems a bit surprised himself, so perhaps that will emerge later.

There's not as many observations this time on the nature of memory that hit home with me; although I've had the same experience of some sound or event happening as I'm recalling something unrelated, followed by having that become a trigger to recall the same unrelated thing on another occasion. Some other observations he makes which seem deeply insightful could be taken as critiques of fiction under a thin veneer. When he observes that old loves do not actually disappear from one's life forever but tend to crop back up, that's observant of life; or it's a critique of how many novels quietly shuffle an unwanted character offstage and conveniently never feel the need to reintroduce him/her again. Where the narrator's romances are concerned, they continue to be a haunting reflection of my own experiences in a way that is almost maddening. I have to believe he is just that good, that he can write in such a way to make anyone feel it relates to whatever their own story may be.

Proust can be funny, as when Oriane speaks of her cousin: "I always ask myself, when she comes here, whether the moment may not have arrived at which her intelligence is going to dawn, which makes me a little nervous always." (Only to be surpassed later by her brother-in-law: "You offer your hindquarters a Directory fireside chair as a Louis XIV bergere. One of these days you'll be mistaking Mme de Villeparisis' lap for the lavatory, and goodness knows what you'll do in it.") Proust can also be exasperating. As the Guermantes are sitting down to dinner and are about to engage in conversation, the narrator chooses this moment to dive into a sixty page digression about their general treatment of guests and whatnot. It might be the longest dinner party every recorded in fiction. The ending is sharp: the joke with the envelope, and then the prioritization of a social event - or the shoes to be worn to one - over the death or dying of friends. This strange ordering of values was itself about to die off, and none too soon. ( )
  Cecrow | May 27, 2022 |
Viser 1-5 af 39 (næste | vis alle)
"The Guermantes Way” (Chatto 7s 6d each volume) is a literal enough rendering of “ Le Cotes de Guermantes” but it hardly suggests the richness of atmosphere which the author’s strange genius imparted to the brilliant salon life in the French capital before the war
tilføjet af vibesandall | RedigerThe Birmingham Post (Oct 13, 1925)
 

» Tilføj andre forfattere (143 mulige)

Forfatter navnRolleHvilken slags forfatterVærk?Status
Proust, Marcelprimær forfatteralle udgaverbekræftet
Anguissola Beretta, AlbertoBidragydermedforfatternogle udgaverbekræftet
Bonfantini, MarioOversættermedforfatternogle udgaverbekræftet
Bongiovanni Bertini, MariolinaRedaktørmedforfatternogle udgaverbekræftet
Cornips, ThérèseOversættermedforfatternogle udgaverbekræftet
De Maria, LucianoRedaktørmedforfatternogle udgaverbekræftet
Enright, D.J.Redaktørmedforfatternogle udgaverbekræftet
Kilmartin, TerenceOversættermedforfatternogle udgaverbekræftet
Raboni, GiovanniOversættermedforfatternogle udgaverbekræftet
Salinas, PedroOversættermedforfatternogle udgaverbekræftet
Scott Moncrieff, C. K.Oversættermedforfatternogle udgaverbekræftet
Treharne, MarkOversættermedforfatternogle udgaverbekræftet
Vallquist, GunnelOversættermedforfatternogle udgaverbekræftet
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Dedico este trabajo a la memoria de los grandes estilistas clásico-barrocos contemporáneos -Henry James, André Breton, Giorgio Bassani, Evelyn Vaugh, E.M.Cioran y Malcolm Lowry, con la traducción de cuyas obras llevo muchos años deleitándome.
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An authoritative new edition of the third volume in Marcel Proust's epic masterwork, In Search of Lost Time Marcel Proust's monumental seven-part novel In Search of Lost Time is considered by many to be the greatest novel of the twentieth century. This edition of volume three, The Guermantes Way, is edited and annotated by noted Proust scholar William C. Carter, who endeavors to bring the classic C. K. Scott Moncrieff translation closer to the spirit and style of the author's original text. Continuing the story begun in Swann's Way and In the Shadow of Young Girls in Flower, The Guermantes Way follows Proust's young protagonist as he advances through aristocratic French society in late-nineteenth-century Paris. A departure from the intimacy of the sprawling novel's previous two installments, part three unfolds against a colorful backdrop of Parisian life, moving from literary salon to opulent social gathering to provide a biting and satirical commentary on culture, human foibles, the ways of the world, and the irretrievable loss of time.

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