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Traits Chinois/Démarche Proustienne

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Proust, China and Intertextual Engagement

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Abstract

Informed largely by Cheng’s self-proclaimed ‘Proustian approach ’ (‘démarche proustienne’) to Le Dit, this chapter extensively compares Proust’s and Cheng’s conceptions of their works as both Bildungsromane (especially with links to forms of life-writing ) and Künstlerromane (revolving around artistic initiation and creation), their extensive engagement with the fine arts (painting, literature, theatre, and music), and their use and rewriting of myths. Through this comparative study, this chapter highlights the strong sense of alterity and the fundamental intention towards the other in Cheng’s transcultural writing, and theorizes Cheng’s aesthetic of reorientation and rapprochement which aims at ‘transcendence ‘ (Cheng’s own word) and universal harmony . The chapter concludes with an elaboration on Cheng’s own readings of the Daoist concept of the Middle Void (in addition to yin-yang ) and of the fundamental ‘ternary system’ in classical Chinese thought as ways to understand his idea of ‘transcendence’, as well as his broader literary enterprise to create transcultural dialogues .

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  1. Lund University, Lund, Sweden

    Shuangyi Li

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Li, S. (2017). Traits Chinois/Démarche Proustienne. In: Proust, China and Intertextual Engagement. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-10-4454-0_5

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