The imprint of Proust on the work of George Seferis
If we trust Seferis when he claims that there is no parthenogenesis in art and that each of us is made of all that we have assimilated, then we can safely reach the conclusion that, in this melting pot which constitutes the artistic makeup of Yorgos Seferis, the Proustian influence has played one of...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades
2021
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/33836 |
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| Sumario: | If we trust Seferis when he claims that there is no parthenogenesis in art and that each of us is made of all that we have assimilated, then we can safely reach the conclusion that, in this melting pot which constitutes the artistic makeup of Yorgos Seferis, the Proustian influence has played one of the most significant roles. And this may not be as obvious in his poetic production as it is in his unique novel, Six Nights on the Acropolis.
The present study aspires to do exactly that: painstakingly pinpoint the Seferian sources of inspiration in the work of Marcel Proust. Apart from the most obvious affinities which concern the plot and the thematology, there are also many more imperceptible ones, such as the soteriological function of literature or the ubiquitous obsession of the past, among others. |
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