Titlebook: Digressions in European Literature; From Cervantes to Se Alexis Grohmann (Senior Lecturer in Hispanic Studi Book 2011 Palgrave Macmillan, a

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Cumbersome

https://doi.org/10.1007/978-3-531-90281-4naccessible ‘ideal’, producing an illusion of their identity — a quasi-identity, if you will. Which is to say that desire, as it exists in culture, is necessarily fetishistic in character, but also that a fetish is a figure that combines the effects of digression with those of metaphor. It is also to say that fetish is not a perversion but a norm.

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Helmut Bremer,Andrea Lange-Vesterolved in the period until Proust’s death in 1922 is largely composed of digressions from this teleological frame.. As the sampling of critical evaluations above suggests, readers have often condemned Proust’s narrative and stylistic wanderings: errancy has been perceived as error.

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Introduction,ture, since, as Peter Brooks has intimated and Ross Chambers has confirmed, all narratives can only come into existence as narratives . by not following the straight line, the shortest path, that leads from their beginning to their end, that is, they can only take shape as narratives by distancing t

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,The Twists and Turns of Life: Cervantes’s ,rrancy. Its eponymous heroes travel as brother and sister under the names of Periandro and Auristela from the frozen islands of northern Europe to the Mediterranean in fulfilment of a vow to go to Rome, their true identities and actual relationship not being fully revealed until the novel’s fourth a

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Digressive and Progressive Movements: Sympathy and Sexuality in ,; or, Plain Stories,heorizes about the significance of digression, . has become a useful illustration of narrative principles for a range of critics and theorists. His squiggly experiments provide material for studies of the nature of the novel and of narrative beginnings, middles and levels (Shklovsky 1965; Said 1975;

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: Dickens, Circumlocution, Unconscious Thought,y so much, in comparison with attacks on the novels as — despite, or because of their popularity — vulgar, exaggerating and uneducated. That criticism is most associated with G. H. Lewes’s essay, ‘Dickens in Relation to Criticism’, discussing, in the . in 1872, the first two volumes of John Forster’

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Concerning Metaphor, Digression and Rhyme (Fetish Aesthetics and the Walking Poem),t is, it becomes a figural formation. It requires an act of displacement (away from the forbidden primal object) and, simultaneously, a certain acquiescence in an act of substitution whereby the alternative object of desire acquires a fragile equivalence, despite its difference, in relation to the i

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Henry James, in Parenthesis, has him as ‘weaving an endless sentence’ in Canto VII (1973: 24), and James’s biographer, Leon Edel, makes the point more expansively in his account of the novelist’s habit of dictating his later works, ‘filled with qualifications and parentheses; he seemed often, in a letter, to begin a sentence w