James F. Austin is associate professor of French at Connecticut College.

Austin's repeated claim to work under the banner of his poststructuralist mentors should not discourage readers. Austin (Connecticut College) writes well and clearly about his subject. He has carefully read the relevant Proust criticism, basing his analyses appropriately on Jean Milly, though he is regrettably negligent in regard to larger theory on related, intertextual devices like allusion. Contrary to Austin's claim, he has not revised the history of pastiche. The device has long been performative and parodic. Still, his fine analysis of Proust's treatment offers an original view through the lens of pastiche. Although this side of Proust is most often associated with Pastiches et mélanges, it is also and perhaps especially a major element in À la recherche du temps perdu, where it allowed him to engage Homer, the Goncourts, and, more interestingly, his own characters and, indeed, himself. Proust was a stylistic master, able to integrate his pastiches seamlessly into his masterpiece. Austin also considers pastiche in subsequent writers like Maurois, Martin-Chauffier, Modiano, and Perec in some detail. He finally considers pastiche in major directors like Godard, Rohmer, and Agnès Varda. Summing Up: Recommended. Researchers, faculty.

• ContentsIntroduction 1. Proust in School French Education and Pastiche Proust the Schoolboy, or, Pastiche Revisited The “Pedagogical Scene” in A l’ombre des jeunes filles en fleursAn Apple for Andrée: Pedagogy and Education Reform in Proust’s Recherche2. Parody and Pastiche in Nineteenth-Century French Literature Parody vs. Pastiche A few examples of nineteenth-century pastiche 3. Why Proust’s pastiches are neither parodic, nor a proof of mastery over the predecessorProust’s PastichesThe “Affaire Lemoine” PastichesWhy Proust Wrote Pastiche (Critical Views of the Last Four Decades)Self-pastiche4. What can pastiche do?Pastiche as PerformanceRetroactive literatureFlaubert, à la ProustJe me suis toujours fait une certaine idée de Balzac...How to Make Friends With Words (Literature as Socially Performative)On the “Seriousness” of Pastiche5. Pastiche as Politically and Economically Performative in the RecherchePerformative styles and imperative politics: Proust’s “optatif”Buy!Proust: Copiest, Pasticheur, or Pierre Menard? A genetic examination of the manuscript.The politics of media and advertising6. Proust’s Goncourt Pastiche and the PostmodernProust Postmodern?What is Postmodernism? A Theoretical Introduction.Postmodern PasticheFrom the “first style” to the “neo”Glimmerings of Postmodern Nostalgia: The Goncourt PasticheThe End of Influence, the Beginning of Postmodernity7. Literary Pastiche Since ProustProustian Pastiche after ProustMartin-Chauffier, Maurois, and Modiano, or “Pasticheur pastiché”OuLiPo: Potential LiteratureRight-Wing Pastiche (Vichy and the Collaborationists)Pastiche: Literary Genre, or Mere Moment?8. Pastiche Proustian, Postmodern, and Purloined in the Cinema, or, Where’s the pastiche in French Film?Jameson’s mode rétro: Filming “the imaginary style of a real past”Ruiz’s Le temps retrouvéStan Douglas’s “Overture”: An adaptation counterexample to heritage pastiche9. Postmodern Pastiche in the Films of Rohmer and GansRohmer’s L’anglaise et le duc: The Eighteenth Centuryas You Have Always/Never Seen It Hutcheon and Jameson on pastiche: the critical potential of postmodernismCritical malgré soi: Le pacte des loupsConclusionBibliographyIndexAbout the Author

James F. Austin is associate professor of French at Connecticut College.

Austin's repeated claim to work under the banner of his poststructuralist mentors should not discourage readers. Austin (Connecticut College) writes well and clearly about his subject. He has carefully read the relevant Proust criticism, basing his analyses appropriately on Jean Milly, though he is regrettably negligent in regard to larger theory on related, intertextual devices like allusion. Contrary to Austin's claim, he has not revised the history of pastiche. The device has long been performative and parodic. Still, his fine analysis of Proust's treatment offers an original view through the lens of pastiche. Although this side of Proust is most often associated with Pastiches et mélanges, it is also and perhaps especially a major element in À la recherche du temps perdu, where it allowed him to engage Homer, the Goncourts, and, more interestingly, his own characters and, indeed, himself. Proust was a stylistic master, able to integrate his pastiches seamlessly into his masterpiece. Austin also considers pastiche in subsequent writers like Maurois, Martin-Chauffier, Modiano, and Perec in some detail. He finally considers pastiche in major directors like Godard, Rohmer, and Agnès Varda. Summing Up: Recommended. Researchers, faculty.

• ContentsIntroduction 1. Proust in School French Education and Pastiche Proust the Schoolboy, or, Pastiche Revisited The “Pedagogical Scene” in A l’ombre des jeunes filles en fleursAn Apple for Andrée: Pedagogy and Education Reform in Proust’s Recherche2. Parody and Pastiche in Nineteenth-Century French Literature Parody vs. Pastiche A few examples of nineteenth-century pastiche 3. Why Proust’s pastiches are neither parodic, nor a proof of mastery over the predecessorProust’s PastichesThe “Affaire Lemoine” PastichesWhy Proust Wrote Pastiche (Critical Views of the Last Four Decades)Self-pastiche4. What can pastiche do?Pastiche as PerformanceRetroactive literatureFlaubert, à la ProustJe me suis toujours fait une certaine idée de Balzac...How to Make Friends With Words (Literature as Socially Performative)On the “Seriousness” of Pastiche5. Pastiche as Politically and Economically Performative in the RecherchePerformative styles and imperative politics: Proust’s “optatif”Buy!Proust: Copiest, Pasticheur, or Pierre Menard? A genetic examination of the manuscript.The politics of media and advertising6. Proust’s Goncourt Pastiche and the PostmodernProust Postmodern?What is Postmodernism? A Theoretical Introduction.Postmodern PasticheFrom the “first style” to the “neo”Glimmerings of Postmodern Nostalgia: The Goncourt PasticheThe End of Influence, the Beginning of Postmodernity7. Literary Pastiche Since ProustProustian Pastiche after ProustMartin-Chauffier, Maurois, and Modiano, or “Pasticheur pastiché”OuLiPo: Potential LiteratureRight-Wing Pastiche (Vichy and the Collaborationists)Pastiche: Literary Genre, or Mere Moment?8. Pastiche Proustian, Postmodern, and Purloined in the Cinema, or, Where’s the pastiche in French Film?Jameson’s mode rétro: Filming “the imaginary style of a real past”Ruiz’s Le temps retrouvéStan Douglas’s “Overture”: An adaptation counterexample to heritage pastiche9. Postmodern Pastiche in the Films of Rohmer and GansRohmer’s L’anglaise et le duc: The Eighteenth Centuryas You Have Always/Never Seen It Hutcheon and Jameson on pastiche: the critical potential of postmodernismCritical malgré soi: Le pacte des loupsConclusionBibliographyIndexAbout the Author