Through an engagement with the philosophies of Proust''s contemporaries, Félix Ravaisson, Henri Bergson, and Georg Simmel, Suzanne Guerlac presents an original reading of Remembrance of Things Past (A la recherche du temps perdu). Challenging traditional interpretations, she argues that Proust''s magnum opus is not a melancholic text, but one that records the dynamic time of change and the complex vitality of the real.

Situating Proust''s novel within a modernism of money, and broadening the exploration through references to cultural events and visual technologies (commercial photography, photojournalism, pornography, the regulation of prostitution, the Panama Scandal, and the Dreyfus Affair), this study reveals that Proust''s subject is not the esthetic recuperation of loss but rather the adventure of living in time, on both the individual and the social level, at a concrete historical moment.

Through an engagement with the philosophies of Proust''s contemporaries, Félix Ravaisson, Henri Bergson, and Georg Simmel, Suzanne Guerlac presents an original reading of Remembrance of Things Past (A la recherche du temps perdu). Challenging traditional interpretations, she argues that Proust''s magnum opus is not a melancholic text, but one that records the dynamic time of change and the complex vitality of the real.

Situating Proust''s novel within a modernism of money, and broadening the exploration through references to cultural events and visual technologies (commercial photography, photojournalism, pornography, the regulation of prostitution, the Panama Scandal, and the Dreyfus Affair), this study reveals that Proust''s subject is not the esthetic recuperation of loss but rather the adventure of living in time, on both the individual and the social level, at a concrete historical moment.

Through an engagement with the philosophies of Proust''s contemporaries, Félix Ravaisson, Henri Bergson, and Georg Simmel, Suzanne Guerlac presents an original reading of Remembrance of Things Past (A la recherche du temps perdu). Challenging traditional interpretations, she argues that Proust''s magnum opus is not a melancholic text, but one that records the dynamic time of change and the complex vitality of the real.

Situating Proust''s novel within a modernism of money, and broadening the exploration through references to cultural events and visual technologies (commercial photography, photojournalism, pornography, the regulation of prostitution, the Panama Scandal, and the Dreyfus Affair), this study reveals that Proust''s subject is not the esthetic recuperation of loss but rather the adventure of living in time, on both the individual and the social level, at a concrete historical moment.