Time regained
Rock minerals
The character is scattered as a text in the texts quoted and pastiched in the novel. This idea comes from the transtextuality within the name itself, which is significant. In chess, “rook” and “a rocade” mean a symmetrical change of rooks. The blow symbolises Roquentin’s spiritual evolution. A search for the etymology of the name reveals an equivalence between rocantin and Roquentin, i.e. the nouns roc and roche, rock. Physically, the rock, as an indeterminate form, refers to the structure of the text. If we assume that Roquentin is a text, it carries this indeterminacy within itself, as does the text itself, which has no rigid form. The text is a mineral that has not found its shape, resembling a stone detached naturally from a rock, left uncut and intact. But it also evokes the genre ambiguity of the mixed novel – fiction and philosophy.
- « La touche intermusicale de la peinture ‘La Nausée’ de Sartre », in Revue d’art et de littérature, musique, Numéro 37 – avril 2008, mensuel, Mazères – France
http://lechasseurabstrait.com/revue/spip.php?article1864 [The intermusical
touch of painting Sartre’s Nausea], in Journal of art and literature, music,
Number 37 – April 2008, monthly journal, Mazères – France
See also:
„Литературната текстуалност – основен артистичен елемент в Погнусата на Сартр“, април 2005, TOM X EFSS, 2004, 10 Ранноесенна школа по семиотика, Култура и текст, с. 235-244 [Literary textuality – the main artistic element in Sartre’s Nausea, April 2005; presented at the session of the 10 Early Fall School of Semiotics, published in Culture and Text, vol. X EFSS, 2004 p. 235-244]
Melancholia
The engraving “Melancholia” appears to be a very important element in the writing of Sartre’s work. The writer’s main decision is that the literary text should bear his name. Gallimard is proposing the present title. In particular, it was Michelet’s 16th-century History that Anny read and reread, not by chance, “with an extraordinary love” and the impression of experiencing a miracle, which secretly concealed the description of Dürer’s engraving. It is a key book, not just, because it’s Sartre’s bedside book. Its presence has a transtextual and transartistic function. Even if the existential tragedy as a thematic interpretation is similar to the melancholy of painting, we grasp the interartistic phenomenon that plays a primordial and colossal role, illustrating the interpenetration of the arts.
Albrecht Dürer
Self-Portrait in Furred Coat/Self-Portrait in a Fur-Collared Robe
Oil on lime panel, 67, 1×48, 7cm, Alte Pinakothek, Munich
- 9то издание на Международния колоквиум по семиотика „Свети Кирик и Юлита„, 2003 на кръглата маса организирана от Лора Шумкова, гост Хари Вейво, Хелзинкски университет, изнесен доклад, „Литературната текстуалност – основен артистичен елемент в Погнусата на Сартр“, [9th edition of the International Colloquium of Semiotics of Autumn “Saints Cyrique et Julita”, 2003 at the round table organized by Laura Shumkova, special guest Harri Veivo (University of Helsinki), “Literary textuality – the main artistic element in Sartre’s Nausea”.]
- 9th World Congress of IASS/AIS, June 11-17, 2007 at the University of Helsinki and at International Semiotics Institute at Imatra, “Interpictoriality and intermusicality in the interartistic text of Nausea”, Helsinki, 2007
- “Interpictoriality and intermusicality in the interartistic text of Nausea”, in Communication: Understanding/Misunderstanding, Vol. I, A-J, pp. 743-751, Printed by Greif, Tartu, 2009, ISBN 978-952-5431-22-3
https://iass-ais.org/proceedings2007/Semio2007Proceedings.pdf
Hawthorn hedge
Claude Monet, Les Nymphéas, Musée de l’Orangerie 1915-1926
The narrator depicts the change in colour under the effect of light, as in an impressionist painting, and even the appearance of the hawthorns, emphasising the darker or paler shades. : „ And these flowers had chosen one of those shades of something edible, or of tender embellishment to a toilet for a great feast, which, because they present them with the reason for their superiority, are the ones that seem most obviously beautiful to children, and because of this, always retain for them something livelier and more natural than the other shades, even when they have realised that they promised nothing to their greediness and had not been chosen by the dressmaker. And of course, I immediately sensed, as I did with the white thorns but with a greater sense of wonder, that it wasn’t an artificial, man-made artifice that was expressing the festive intent of the flowers, but that it was nature that had spontaneously expressed it with the naivety of a village shopkeeper working for a repository, by overloading the shrub with these rosettes of an overly tender tone and a provincial pompadour. At the top of the branches, like so many little rosebushes with pots hidden in lacy papers, whose slender flares were shone on the altar at major festivals, a thousand little buttons of a paler hue, which had been, as they opened, revealing, as if at the bottom of a pink marble cup, red sanguines , and betrayed, even more than the flowers, the particular, irresistible essence of the thorn, which, wherever it budded, wherever it went to flower, could only do so in pink.” (Proust, Marcel, Swann’s Way, Combray, Gallimard, Paris, 1989, p.188). This becomes an impressionist landscape with red accents and a magnifiscent point, ending the painting in pink and highlighting the splendour of interartistic vision, particularly interpictorial vision.
- Text presented to the 18th International conference, Language, Individual & Society, Varna, 2018, „Proust’s Hawthorn Hedge”,
https://www.scientific-publications.net/en/article/1001767/
- “Proust’s Hawthorn Hedge”, in Language, Individual & Society, Volume 12, 2018, pp. 60-68