By Mauro Carbone
French novelist Marcel Proust made recognized "involuntary memory," a weird form of reminiscence that works no matter if one is keen or no longer and that offers a reworked recollection of prior event.
More than a century later, the Proustian thought of involuntary reminiscence has no longer been totally explored nor its implications understood. via delivering clarifying examples taken from Proust's novel and via commenting on them utilizing the paintings of French philosophers Maurice Merleau-Ponty and Gilles Deleuze, Italian thinker Mauro Carbone translates involuntary reminiscence because the human school offering the involuntary production of our rules during the transformation of earlier event.
This rethinking of the normal method of conceiving rules and their genesis as separated from good experience-as has been performed in Western proposal due to the fact that Plato-allows the writer to advertise a brand new concept of data, one that is healthier exemplified through literature and artwork even more than philosophy.
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Extra resources for An Unprecedented Deformation: Marcel Proust and the Sensible Ideas (Suny Series in Contemporary Continental Philosophy)
Differently from Cassirer (and from Heidegger), we indeed saw Deleuze developing his own confrontation with thinking the essence (the “idea,” the “form”), by focusing not on the tension between εἶδος and εἴδωλον, but rather on that which opposes εἰκών and φάντασμα—and in this sense offering elements of reflection that are not reducible to a simple inversion of the “old structural order” between “sensible” and “non-sensible”—on the basis of a conviction that “‘to reverse Platonism’ means to make the simulacra rise and to affirm their rights among icons and copies” (LS, 302/262).
Thus, if according to Bacon art can offer us a privileged access to the essence of things, it is precisely in the name of these same essences that Plato banished art and mimetic poetry from the ideal Republic. Yet here the question about the specific nexus between the Platonic concept of eidos and the field of aesthetics finds its explanation: despite Plato’s condemnation of art in the name of a theory of ideas (or essences), no other theory—Cassirer suggests—has exerted such a strong and enduring influence on art and the philosophical reflection on art (defined in modernity as aesthetics), and this is attested to by Bacon’s own sentence, which employs precisely the term essence.
Elsewhere Merleau-Ponty indicates that we are dealing with a time in which “ . . synchronics . . encroaches upon succession and diachronics” (S, 154/122–123): a time that flashes or shines in the simultaneity to which the ontology implicit in contemporary thought (and Proust’s work itself)19 attempts to give expression. 20 It is a time flashing precisely in those chiasms. It is precisely in a time thus characterized, rather than in a Platonistic eternity, that Merleau-Ponty sees the life of the sensible ideas described by Proust, ideas which he in fact qualifies as “the eternal in the ephemeral” and immediately after defines as the “ciphers of the singular” (NC, 196).
An Unprecedented Deformation: Marcel Proust and the Sensible Ideas (Suny Series in Contemporary Continental Philosophy) by Mauro Carbone