Premises of Visuality: Max Blecher and Marcel Proust

In this article we discuss the modern premises of visuality and the effects of the cultural transfer of optical and photographic techniques on the work of Max Blecher, a Romanian Jewish writer who was a keen explorer of Marcel Proust’s works. In his works Blecher pursued the same theme as Proust—the mechanisms of interior memory and life—and often used optical instruments as a metaphor of identity. The role of the photographic model in his depiction of social tableaux, characters, and dispositions, originated partly in the influence of Proust’s writing and partly in other techniques of the European literary avant-gardes.     

The Parliaments of Cambridge

Re-examination of St-Brieuc and Wilburton metalworking shows they cannot align, and this requires a general reordering of the Atlantic Late Bronze Age sequence. They have many differences, principally sword types. St-Brieuc always has U-butt Kerguérou (Limehouse in Britain) swords, whereas Wilburton always has Wilburton swords. Wilburton must follow St-Brieuc, so a new Limehouse stage is inserted between Penard and Wilburton, to align with St-Brieuc. The combination of U-butt sword and straight-mouthed chape of St-Brieuc and Limehouse is consistent throughout Atlantic Europe. So too are the characteristics of Wilburton metalworking which followed, and its Brécy equivalent in France. In Britain the contemporaneity of Wallington and Wilburton is reaffirmed. Both played a part in the emergence of Ewart Park 1 metal-working, with South Yorkshire/Lincolnshire a vital contact zone. The Atlantic Late Bronze Age unravelled after Wilburton. Iberia effectively dropped out after Huelva, diverted by Phoenician influences. Links between Britain and Atlantic France declined, and their sword and axe preferences diverged. The various weapon complexes of Ewart Park 1 in Britain have no equivalents in France. Ordering and sub-dividing this final phase of the LBA has always been imponderable but has been helped by the identification of St-Philbert (Huelva) swords, which show what are Ewart Park 1 hoards in Britain and contemporary Longueville hoards in France. They also make clear that the Carp's tongue complex must be relegated to the last part of the Late Bronze Age.     

Proust: identity,time and the postmodern condition

The self as the identification of the self with itself is a product of the dynamic transformation of European culture beginning in the Renaissance. The self, or absolute ego, was an outgrowth of the consciously rationalist spirit. However, modernity's Faustian drive was conscious paradoxically without being self conscious of itself or its cultural creations. Modernism deconstructed the values and assumptions of modernity. A casualty was the problematization of the self that had been banished and/or erased by formalism, structuralism and deconstruction.

The modernist self erases the absolute ego reconstructing it with a rich, complex, narrative idea of a self‐conscious relational self encompassing memory, repression, autobiography and history.

This paper explores the modernist conception of self in Marcel Proust's In Search of Lost Time. Proust demolishes the absolute ego in favor of the paradoxical self which knows itself only in relation to otherness actualized in persons and culture in the sacred time of existence.     

评《新编剑桥中世纪史》

《剑桥中世纪史》(以下简称《老版》)第一至八卷在1 91 1年至1 936年间出版。此后虽有略加修改的多次重印本,但无论从思想观点还是从行文版式看,都与时代要求相距甚远。因此早在80年代后期,西方史学界就酝酿重编事宜,90年代组织作者队伍着手撰写。1 995年,书名为《新编剑桥中世