A Design Critique of Alessandro Mendini’s Proust Armchair

Jungah Kim(김정아) 현대미술사학회 2014 현대미술사연구 Vol.0 No.35

This paper is a design critique of Alessandro Mendini and his Proust Armchair. Mendini is a world-renowned Italian architect-designer, and his Proust Armchair is a contemporary design icon, as well as a Mendini’s trademark. This study argues whether Mendini’s Proust armchair can be categorized into postmodernism, and whether Mendini can be labeled as a postmodernist in spite of his reluctance to being labeled as such. This argument starts from the fact that Mendini has never identified himself as a postmodernist, but as a neo-modernist. Thus, it pays attention to Mendini’s selfevaluation which was in the shadow of the critics’ opinions. This study, as a design critique synthesizes both of the views, and reads Mendini and his design in the context of their culture and history. The Proust chair is a ready-made replica from a neo-Baroque armchair of the eighteenth century, completely covered with colorful handpainted dots from a pointillist painting by Paul Signac. It reflects the ideas originated from the literature of Marcel Proust. The Chair epitomizes Mendini’s design journey which commenced with the label of ‘radical design’, and moved on to ‘redesign’, ‘kitsch’ and ‘banal design’, and consequently has realized ‘poetic and pictorial design’. It raises questions like the distinction between high and low culture, the encounter of the past and present, and the symbiotic coexistence of literature and painting. Therefore, the Proust chair takes an ambivalent and ambiguous position among art, design, and furniture. Whether Mendini is labeled as a postmodernist, or he identifies himself as a neomodernist, he is closer to being an eclecticist. He has attempted to realize the optimistic and artistic utopia. To him, there are multiple ways to the utopia, which is through poetic, emotional and pictorial design. It is hard to hypothesize postmodernism as an entity free from personal, socio-cultural, and historical factors. Mendini’s design is a combination of all of these factors.

엘리엇과 프루스트의 문학적 테마로서의 시간성에 대한 고찰

이철희 한국현대영미시학회 2009 현대영미시연구 Vol.15 No.1

Eliot as a poet and critic has drawn much attention, and his works have been researched and studied extensively. Of his works, Four Quartets has been dealt with from the perspective of time and timelessness, along with the musical effect of the versification with beautiful rhymes and rhythms. This poem is also characterized by a sense of historicity. Focusing on some of Proust’s themes, this study attempts to define Eliot’s time. Eliot tries to present his own abstract and metaphysical time realistically and concretely by using Proust’s themes, such as memory, recollection, and objects. Proust’s literary themes Eliot uses in his own poem make it read like a novel: Eliot uses a continuity or a memory or a recollection, as in Proust’s novel. Both Eliot and Proust deviate from the definition of the time we use. That is, their time is different from the arrangement of time physics or natural science defines; to them, time moves up and down, flows on without a definite point, crosses over past, present, and future. Eliot as a poet and critic has drawn much attention, and his works have been researched and studied extensively. Of his works, Four Quartets has been dealt with from the perspective of time and timelessness, along with the musical effect of the versification with beautiful rhymes and rhythms. This poem is also characterized by a sense of historicity. Focusing on some of Proust’s themes, this study attempts to define Eliot’s time. Eliot tries to present his own abstract and metaphysical time realistically and concretely by using Proust’s themes, such as memory, recollection, and objects. Proust’s literary themes Eliot uses in his own poem make it read like a novel: Eliot uses a continuity or a memory or a recollection, as in Proust’s novel. Both Eliot and Proust deviate from the definition of the time we use. That is, their time is different from the arrangement of time physics or natural science defines; to them, time moves up and down, flows on without a definite point, crosses over past, present, and future.

라파엘전파와 프루스트: 로세티에서 엘스티르까지

유예진 ( Yae Jin Yoo ) 한국불어불문학회 2014 불어불문학연구 Vol.0 No.97

Marcel Proust avait un interet particulier pour les Preraphaelites, ce groupement de jeunes peintres anglais forme autour de Dante Gabriel Rossetti vers le milieu du XIXe siecle. Contre les canons classiques qui regnaient sur le domaine des beaux arts europeens depuis la Renaissance italienne, ces jeunes peintres se sont lances pour retrouver la purete artistique propre aux predecesseurs de Raphael, c`est-a-dire aux primitifs italiens tels que Giotto ou Carpaccio. Or Proust, avant la redaction de son roman, A la recherche du temps perdu, avait publie un article intitule “Dante Gabriel Rossetti et Elizabeth Siddal”. Dans cet article, l`auteur analyse le rapport dans ce couple dont Rossetti est vu a la fois comme homme amoureux de sa femme, mais aussi comme homme artiste se battant pour “le desir d`un amour immortel”. Cependant dans le roman lui-meme Proust ne fait aucune mention aux Preraphaelites, alors que pres de deux cents peintres et tableaux reels y apparaissent sous diverse forme. De meme, John Ruskin, critique d`art anglais dont Proust traduit deux ouvrages et qui a probablement introduit celui-ci aux arts du preraphaelisme, n`occupe pas de place significative dans La Recherche. En effet, Proust ne pouvait s`accorder aux principes des preraphaelites pour qui le moralisme constituait la base de leur esthetique. L`esthetique de la morale que poursuivait ces peintres anglais ne pouvait attirer Proust qui voyait l`art dont le critere unique doit etre la verite. C`est la raison pour laquelle il cree le personnage fictif d`Eltir, peintre impressionniste qui joue le role d`initiateur a l`art veritable aupres de Marcel. Cependant certains traits de Rossetti peuvent etre trouves chez Elstir, comme par exemple le rapport que ce dernier entretient avec sa femme Gabrielle. De meme, en ce qui concerne le principe preraphaelite selon lequel les peintres doivent prendre comme modele les gens parmi leur entourage afin de les representer fidelement dans les toiles, Proust semble l`appliquer dans son roman avec une certaine transformation. A travers le personnage de Swann qui prend plaisir a retrouver dans son entourage les figures peintes par les grands maitres d`autrefois, Proust assimile l`un des principes des preraphaelites selon son gre. Ainsi les traces des preraphaelites dans le roman proustien sont plutot d`un ordre discret qu`apparent. Cela montre que Proust sans pourtant etre d`accord aux esthetiques du preraphaelisme a fait siens certains elements de ce mouvement particulier pour enrichir son vaste roman.

롤랑 바르트의 글과 삶에서 프루스트가 갖는 의미

유예진 ( Yae Jin Yoo ) 한국불어불문학회 2011 불어불문학연구 Vol.0 No.87

Au premier coup d`œil, essayer de trouver une influence quelconque entre Marcel Proust, l`auteur d`une œuvre monumentale et ``unique`` de A la recherche du temps perdu et Roland Barthes, critique ayant prone le structuralisme dans les annees 70 semble aboutir a un resultat incertain et vain. Pourtant si nous regardons de pres les ecrits de Barthes, nous sommes agreablement surpris de faire face a de nombreux textes sur Proust. De "Proust et les noms" (1967) a "Proust et la photographie" (1980), passant par "Une idee de Recherche" (1971) et "Longtemps, je me suis couche de bonne heure" (1978), Proust est omnipresent dans les ecrits barthesiens. Cet article essaie d`analyser l`influence de Proust dans les ecrits et la vie de l`auteur du Degre zero de l`ecriture. Pour cela, nous relevons les traces de Proust dans les textes de Barthes. Cette recherche nous mene a comprendre que Barthes est un lecteur a vie du roman de Proust. Son regard passe de celui du structuraliste a celui d`un ``marcellien``, un amateur pure et simple de la Recherche. Les deux dernieres annees qu`il passe a ``preparer le Roman`` nous rappellent Marcel, le heros de la Recherche lorsqu`il decouvre sa vocation d``ecrivain et decide d`ecrire le roman dont le sujet est sa propre vie. En particulier, le dernier seminaire de Barthes qu`il n`a pas pu delivrer a cause de l`accident tragique qui lui a arrache la vie montre, de part le sujet annonce, la grande affection qu`il avait pour Proust pendant toute sa vie.

프루스트와 크리스탈-이미지

민진영 한국프랑스학회 2012 한국프랑스학논집 Vol.78 No.-

Cette étude a pour but de rechercher la continuité et le développement entre Proust et les signes de Gilles Deleuze et l’image-cristal dans son œuvre, L’Image-temps, cinémaⅡ. Lors de la lecture de L’Image-mouvement et L’image-temps de Deleuze, nous rencontrons souvent la citation et l’application sur A la recherche du temps perdu de Marcel Proust sur le cinéma. Cela nous permet de découvrir le grand intérêt sur Proust chez Deleuze, la continuité entre sa pré-pensée et sa post-pensée et la correspondance entre son esthétique littéraire et son esthétique cinématographique. Surtout la notion de l’image-cristal qui concrétise son concept, l’image-temps, s’explique beaucoup avec le roman de Proust. D’abord, les quatre signes, c’est-à-dire, le signe mondaine, le signe de l’amour, le signe sensible, le signe de l’art dans Proust et les signes font écho avec les quatre images du cinéma, c’est-à-dire, l’image- perception, l’image-affection, l’image-action, l’image-temps. Les trois premiers signes sont matériels et objectivistes, tandis que le dernier signe est immatériel et subjectif. De la même manière, les trois premières images sont matérielles et objectivistes, tandis que la dernière image est immatérielle et subjective. Les trois signes deviennent immatériels et subjectifs après que la narrateur de Proust apprend la vérité du signe de l’art. De même, les trois images deviennent immatérielles et subjectives après que les images engendrent l’intervalle par l’intervention du temps. De plus, le processus de la subjectivisation et de l’immatérialisation passe par la rupture de mémoire ou l’oubli. S’éloignant de l’influence de Mnémosyne, en même temps, en ayant recours du grand artiste, Hésiode, Deleuze souligne l’esthétique d'«après» et de «trop tard». Basés sur les troubles de la mémoire et les échecs de la reconnaissance, Proust, Godard, Visconti et Resnais, en commun, se réalisent cette esthétique. Dans la rupture de la mémoire, le passé et le présent coexistent sans aucune corrélation entre eux. Le temps s’y cristallise, et Deleuze l’appelle l’image-cristal. L’image-cristal se présente dans la zone indiscernable où le virtuel et l’actuel s’entrecroisent. Dans cette zone, le passé n’a aucun rapport avec le présent comme disait le «passé pur» chez Bergson ou «un peu de temps à l’état pur» chez Proust.

프루스트와 간접언어: 주네트의 분석을 중심으로

유예진 중앙대학교 외국학연구소 2016 외국학연구 Vol.- No.35

Marcel Proust’s In Search of Lost Time has a special meaning for Gérard Genette, who greatly contributed to establishing modern narratology. His five-volume work, Figures, contains an analysis of Proust’s writing style. The present study attempts to understand the type, role, and effect of indirect language in Proust’s novel by analyzing the chapter, “Proust and Indirect Language,” in the second book of Figures. Proust’s characters, despite revealing much through what they say, reveal much more truth through what they do not say, what they say incorrectly, and the way they say it. On the one hand, Genette refers to the discourses uttered intentionally and directly by the characters as direct language, and on the other hand, he defines as indirect language the signs that reveal the distinct features of the characters in an unintentional and indirect manner. Subsequently, he divides indirect language into two types, the first being linguistic errors, and the second, extralinguistic signs. The reason this work is interesting is that particular characters in Proust’s novels who, through no exaggeration, are defined by their use of language unintentionally reveal hidden aspects through their use of indirect language. By analyzing the indirect language of Proust’s characters, we can understand these characters more in-depth. We can also thereby understand the unrivaled perspective of Genette, who discovers the meaning of existence in Proust’s In search of Lost Time via the indirect language used by its characters that reveals the hidden or intended-to-be-hidden truth.

『프루스트 영화각본』과 해럴드 핀터의 진실 찾기

정문영 문학과영상학회 2014 문학과영상 Vol.15 No.2

This paper reads The Proust Screenplay (1972) written by Pinter for his fourth collaborative film with Joseph Losey which still remains as a blueprint for a film. Pinter’s ambitious task of adapting Proust’s In Search of Lost Time (1913-1927) for the cinema has been assessed as a dubious and unfitting work. This paper argues that Pinter came to learn how to search for truth in the process of adapting Proust and his writing The Proust Screenplay became a pivotal turning point for his own future writing as dramatist and screenwriter. Pinter’s adaptation of the monumental novel appears more Pinteresque than Proustian, not because Pinter’s cinematic techniques cannot emulate Proustian camera eye, but because Proustian camera eye helps Pinter search for his own way to see, i.e., Pinteresque camera eye. Both Pinter and Deleuze read out the two contrasting movements of disillusion and revelation from Proust’s In Search of Lost Time. As Deleuze’s reading of Proust insists that In Search of Lost Time is first of all a search for truth, Pinter’s reading of Proust, The Proust Screenplay shows that Marcel is forced to search for truth. Thus this paper argues that Pinter’s screenplay concentrates on creating a modern cinema of the seer who can see truth in a pure optical-sound image through clichés in movement-images. And Pinter’s future writings for theatre and cinema become political since this pivotal screenplay because it shifts from the pole of movement-image to the movement of the interval or pause that will produce a political thought-image, a time-image.

A Design Critique of Alessandro Mendini’s Proust Armchair: Postmodernism Argued

김정아 현대미술사학회 2014 현대미술사연구 Vol.0 No.35

This paper is a design critique of Alessandro Mendini and his Proust Armchair. Mendini is a world-renowned Italian architect-designer, and his Proust Armchair is a contemporary design icon, as well as a Mendini’s trademark. This study argues whether Mendini’'s Proust armchair can be categorized into postmodernism, and whether Mendini can be labeled as a postmodernist in spite of his reluctance to being labeled as such. This argument starts from the fact that Mendini has never identified himself as a postmodernist, but as a neo-modernist. Thus, it pays attention to Mendini’s selfevaluation which was in the shadow of the critics’ opinions. This study, as a design critique synthesizes both of the views, and reads Mendini and his design in the context of their culture and history. The Proust chair is a ready-made replica from a neo-Baroque armchair of the eighteenth century, completely covered with colorful handpainted dots from a pointillist painting by Paul Signac. It reflects the ideas originatedfrom the literature of Marcel Proust. The Chair epitomizes Mendini’s design journey which commenced with the label of ‘radical design’, and moved on to ‘redesign’, ‘kitsch’ and ‘banal design’, and consequently has realized ‘poetic and pictorial design’. It raises questions like the distinction between high and low culture, the encounter of the past and present, and the symbiotic coexistence of literature and painting. Therefore, the Proust chair takes an ambivalent and ambiguous position among art, design, and furniture. Whether Mendini is labeled as a postmodernist, or he identifies himself as a neomodernist, he is closer to being an eclecticist. He has attempted to realize the optimistic and artistic utopia. To him, there are multiple ways to the utopia, which is through poetic, emotional and pictorial design. It is hard to hypothesize postmodernism as an entity free from personal, socio-cultural, and historical factors. Mendini’s design is a combination of all of these factors.

프루스트 문학을 통해 본, 영화 <마담 프루스트의 비밀정원>의 치유 효과 - ‘몸’의 기억을 중심으로 -

김귀원 한국프랑스학회 2023 한국프랑스학논집 Vol.121 No.-

Dans cette étude, nous considérons que le film <Attila Marcel>(2013) du réalisateur Sylvain Chomet, est étroitement lié au roman À la recherche du temps perdu de Marcel Proust en termes de forme et de narration. Partant de là, on considère que la quête de mémoire chez Proust, intervient profondément dans le processus de « guérison », sujet du film. La mémoire involontaire, qui se réssuscite à travers la Madeleine et le thé, se fait de manière à ce que le corps se souvienne et fonctionne au sens comme les organes botaniques. Cela donne à Paul et Proust l’opportunité d’échapper à la routine sans signification ou aux traumatismes. Le « jardin » et la « musique », qui sont le médiateur sensoriel comme Proust, forment un dénominateur commun avec ce film. Si « jardin » est l’espace poétique comme la source d’inspiration chez Proust, il se montre avec l'image d’un espace visuel riche en sensation dans ce film. Si le jardin apparaît comme un espace primordial qui fait étinceler les sens du corps, l’expérience acoustique de la musique joue un rôle dans la reproduction constante de la couche temporelle. Le motif narratif de la répétition et de la production, est activement utilisé dans le film comme le roman. Ainsi la musique induit la variation et l'inflexion du narratif en approchant au Paul la découverte de la vérité En conclusion, le jardin ou la musique dans le processus de guérison, incarne l’unité corporelle à travers les mémoires temporelles et spatiales vécues par le corps. Il est conforme à l’affirmation de Merleau-Ponty selon laquelle l’expérience spatiale du jardin et l’expérience temporelle de la musique, sont un moyens de communiquer avec le monde. Par conséquent, les expériences visuelles et auditives sont impliquées pour déterminer l’unité du monde perceptuel. Bien que le corps soit la base de notre communication avec le monde, nous constatons que retrouver le langage est important pour communiquer, donc ce qu’une expérience sensorielle du jardin ou de la musique, a réalisé n’est pas seulement une image ou une mémoire, mais aussi un processus de retrouver le langage. Cependant, pour arriver d’une rupture des relations avec le monde au point d’attachement, il faut passer « illusion d’optique » qui deviendra la force motrice. C’est le moment où Paul collabore avec ‘le groupe de grenouilles’, et Marcel est aussi l'image reflétée par kaléidoscope. Contrairement à Proust, qui a nié le film comme une image trompeuse et défilée, le réalisateur Chomet veut créer une image en profondeur avec l’illusion d’optique de Paul que la réalité interagit avec la fantaisie. 본 연구에서는 실뱅 쇼메 Sylvain Chomet 감독의 <마담 프루스트의 비밀정원(원제 Attila Marcel)>(2013)이 마르셀 프루스트 Marcel Proust의소설 잃어버린 시간을 찾아서 À la recherche du temps perdu 와 그형식과 서사적 측면에서 매우 닮아있다는 점을 전제로 삼는다. 이를 바탕으로 작가 프루스트의 기억에 대한 탐색이, 영화의 주제인 ‘치유’의 과정에깊이 개입함을 고찰한다. 마들렌과 차를 매개로 촉발된 몸의 기억은, 마르셀과 폴을 사물적 세계에서 감각적 환상의 세계로 유입시키면서 무의미한일상과 트라우마에서 그들을 벗어나게 할 수 있었다. 이를 위한 감각의 매개체인 ‘정원’과 ‘음악’은, 문학 작품과 공통분모를 이룬다는 점에서 이 영화가 프루스트 문학의 본질에 다가가 있다. 프루스트에게 ‘정원’이 영감의원천이자 표현의 본질을 일깨우는 시적 공간이라면, 영화에서도 ‘정원’은폴의 기억이 식물의 생리 작용처럼 신체적 감각을 촉진하는 지각의 공간으로 등장한다. 한편 프루스트 문학에서 음악이 시간적 층위를 끊임없이재생하는 역할을 하듯이, 영화에서도 이는 반복과 생성의 서사적 모티브로활용된다. 따라서 음악이 서사의 변주와 변곡을 이끌어가는 공통점을 보이면서 주인공은 트라우마를 마침내 극복할 수 있다. 치유의 과정에 개입하는 정원이나 음악은 몸이 체험한 시․공간적 기억이기도 하다. 즉 정원이라는 공간적 체험과 음악이라는 시간적 체험이 서로 얽혀 신체적 통일성을 구현한다는 점에서 이는 메를로 퐁티의 주장과도 일치한다. 몸이 체험한 시각적 경험과 청각적 경험이 함축되어 지각 세계의 통일성이 결정되기 때문이다. 그런데 세계의 단절로부터 애착으로 나아가기 위해서는 ‘시각적 환상’이 필요하다. 이는 폴에게는 개구리 악단과협연하는 순간이고, 마르셀에게는 환등기에 비친 이미지로 다가온다. 또한몸이 세계와 소통할 수 있는 근거가 되려면 언어적 측면이 중요하다는 것을, 폴이나 프루스트의 결론에서 알 수 있다. 언어는 우리가 세상과 소통할 수 있는 유일한 방법이므로, 정원이나 음악의 감각적 체험이 이룬 것은, 환상이나 기억뿐만 아니라 언어를 되찾는 과정이기도 하다. 그리하여프루스트는 영화를 나열되고 속이는 이미지로 부정했지만, 쇼메 감독은 현실이 환상과 교감하는 깊이 있는 화면을 폴의 시각적 환상으로써 창조하고자 한다.

시간을 <잃어버린다는 것>과 <되찾는다는 것> : 들뢰즈의 프루스트 읽기에서 예술이 발견해 내는 <본질들의 세계>와 시간의 본래적인 모습

조현수 서울대학교 철학사상연구소 2022 철학사상 Vol.86 No.-

In Deleuze’s reading of Proust, “Losing one’s time” means experiencing the time as something completely dominated by an irrevocable “passing-by” movement, while “Recovering this lost time” means rediscovering the true nature of this time as something eternal (i.e., something freed from this transitory character of time). According to Deleuze, Proust's aim of recovering one’s lost time can be achieved only when this true nature of time can be found on the level of “the world of essences” which, being beyond the empirical world, can nevertheless reveal the hidden truth of our life that we lead in this empirical world. One could, therefore, easily understand why Deleuze does not hesitate to see in Proust a resurrection of Platonism. It is, in effect, evident that Proust approves Plato’s idea of the independent reality of the essences, which find themselves beyond the empirical world. However, although this presence of Platonism in Proust is assuredly undeniable, the more essential feature of Deleuze’s reading of Proust lies rather in the attempt to show that these essences must be understood in a completely different way than in Platonism. The task of the first part of this paper is to explain how it is possible to make sense of Proust’s idea of “Losing one’s time” and “Recovering this lost time” in the way we mentioned above. In the second part of this paper, we try to show the reason which permits Deleuze to suggest such a different understanding of the essences. <시간을 잃어버린다>는 것과 <시간을 되찾는다>는 것, 들뢰즈의 프루스트 읽기에서 이 두 가지의 것은 각각 <시간을 지나가는 흐름으로서 체험한다>는 것과 <시간을 이러한 흐름에서 벗어나 있는 영원한 것으로서 재발견한다>는 것을 의미하는 것으로 이해된다. 들뢰즈에 따르면, 잃어버린 시간을 되찾는 것이 가능할 수 있게 되는 것은, 시간의 본래적인 모습이 실은 흘러 지나가 버리는 것이 아니라, 이러한 제행무상(諸行無常)의 운명을 넘어서 있는 영원한 것이기 때문, 그리하여 이러한 영원성 속에서 항상 지금 여기에 있는 것이기 때문이다. 들뢰즈는 우리가 시간의 이러한 본래적인 모습을 되찾을 수 있게 되는 것은, 프루스트가 보여 주듯이, 우리의 삶의 무대인 경험적 세계를 넘어서 있는, 그러면서도 이 경험적 세계에서 우리가 겪게 되는 모든 체험의 숨은 진리가 무엇인지를 밝혀내 줄 수 있는, 독립적인 실체로서의 <본질들의 세계>가 존재하고 있기 때문이며, 또한 우리가 예술을 통해 이러한 <본질들의 세계>를 발견해 낼 수 있기 때문이라고 주장한다. 시간의 본래적인 모습이란 곧 이 <본질들의 세계>가 존재하는 시간형식이라는 것이다. 프루스트에 대한 들뢰즈의 이와 같은 독법은 여러모로 플라톤의 이데아의 세계를 떠올리게 만들며, 실로 들뢰즈는 프루스트에게 깃들어 있는 플라톤주의의 깊은 흔적에 대해 여러 차례 언급하기도 한다. 하지만 경험적 세계를 넘어서 있는 독립적인 실체로서 존재하는 것이라는 그 위상에 있어서의 유사성을 제외하고는, 들뢰즈가 프루스트를 통해 이야기하려 하는 <본질들의 세계>란 플라톤의 이데아의 세계와 거의 모든 중요한 점에 있어서 서로 전혀 다르다는 것이 드러나게 된다. 들뢰즈의 프루스트 읽기는 <본질이란 무엇인가>라는 철학의 오랜 문제에 대해, 플라톤주의 이래의 오래된 전통이 내어놓는 것과는 전혀 다른 대답을 하려 하고 있는 것이다. 이 글의 1부에서 우리는 <시간을 잃어버린다는 것>과 <시간을 되찾는다는 것>이 어떻게 해서 각각 우리가 제시하는 저와 같은 의미로 이해될 수 있는지를 살펴볼 것이다. 그런 다음 2부에서는, 들뢰즈가 그리는 이 <본질들의 세계>가 어떤 내적 구조로 짜여져 있으며 또한 우리의 경험적 세계에 대해 어떻게 작용하는지를 살펴봄으로써, 들뢰즈가 본질에 대해 제시하려 하는 새로운 이해가 어떤 것인지를 살펴보려 한다.