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Post-Proustian Glamour [1]
Mr. and Mrs. Michael Angelo Tatabu< �� �� up St.Paul's Rd. Uni|TT op the femme Vietnamnesen IMBISS 6,-DM

"Fashions are a collective medicament for the ravages of oblivion."
-Walter Benjamin, The Arcades Project (B9a,1)

[1] After Proust-that is, after one has completed the "Proustian Circuit ," [2] having entered at Combray, within the space of the insomniac, having traversed Paris, Balbec, Venice, spaces belonging alternately to the lovesick adolescent, the watcher of the sea and young female efflorescence, the obsessed erotic inmate, the gerontic fugitive guilty of murdering an all-benevolent grandmother, the fugitive from oblivion putting off the last moments of eternal forgetfulness, the pussywhipped student of architecture fleeing the eternal present of musical rapture for the safety of "mamma" (O Sole Mio...), and having exited chez la Nouvelle Princesse, in the space of the time-travelling flâneur-dandy who discovers sublimity in the saturation of madeleine by tea, the unnevenness of time-eroded steps, the clang of a spoon knocking against a plate, the crispness of a napkin, of the gerontophobe reentering society only to make his final exit, of the lost artist finding in "Time" the subject of his belated novel [3]-after we complete this psychological, ontological, botanical, aesthetic journey, where are we? To be more specific: after Proust, what kind of selves can we become? After we have seen the narrator of A la recherche du temps perdu metamorphose and metempsychose into and out of any number of subpersonae, after our own sense of "self" has expanded to incorporate some sense of internal otherness, some vague flavor of what it might mean to fragment into an indeterminate number of selves, each one self-sufficient and incompatible with other selves, and, most importantly, after we have inserted these selves into some temporal gridwork or geodesic (Einstein's word for the curvature of spacetime), [4] after we have reintegrated them into a temporality which can only ensure that the "cellular replenishment" they represent for Proust will one day come to an end, after our own sense of selfhood reaches the point of crisis, how do we reconstitute (1) ourselves, (2) space, (3) time such that psychosis is avoided or deferred?

Einstein's geometrization of gravity as pattern for a cosmic gown
(Looking Glass Universe, 66).

[2] But my question is even more specific than that. What I really want to know "after Proust" is what kind of "fashion creatureliness" [5] remains; in other words, knowing full well that time will destroy all-at the same time, of course, that it will provide the basis for joy, rapture, sublimity-I wish to renegotiate the concept of "glamour" or "chic" in the aftermath of the many "fashion incidents" which have carried me along the Proustian circuit. In a previous unpublished (yet not unpublishable!) paper, Proustian Interventions, I had looked playfully at the fashion theories of Odette Swann (and Odette de Crécy-and Mademoiselle de Sacripant, and the Lady in Pink-all the many "Odettes" in "Odette") in order to unfold a glamour poetics of palimpsest, anachronism, metempsychosis; now, seeking to expand my notion of Proust's many fashion theories, my desires have left Odette (the fabulous ruby she earns in exchange for covering Saint-Loup's tracks to and from Sodom glittering on her finger, as she, in defiance of the laws of chronology, vanishes to a single rubescent point) and have found four new fashion creatures to subject to the vestimentary-poetical analysis I have, with Roland Barthes [6] as my inspiration, sought to develop. The second woman with whom the young narrator falls in love, Oriane, Duchesse de Guermantes; a woman with whom he never falls in love, the Queen of Naples; the third and final woman with whom he ever falls in love, Albertine Simonet; and a woman who recharges the his amorous apparatus, Mme de Saint-Euverte: each possesses personal fashion theories which, at the level of their own lives within the World of Proust, structure their own careers as public selves, while at the level of "The Narrator's Theories of Art" functioning as surrogates for various theories of artistic production. Thus each fashion creature (fashion victim?), [7] in fleshing out her own theory of what it means to prepare for public display, also unbeknownst to her flashes out a theory of what it means for Proust to prepare for literary display (and they are in good company-St. Loup's theories about the art of war, Charlus' genealogies, and Brichot's etymologies, for example, fulfill similar roles). My wish is to look to their fashions to discover their fashion theories-and it is a selfish wish, more the desire to discover varieties of glamour that survive and postdate the Proustian circuit-so that I might gain a deeper understanding of the fashion semiotics inaugurated by Roland Barthes, so that I might further develop my own personal concept of late twentieth/early twenty-first century chics, and so that I might gain some insights into the Narrator's own literary project, as well as my own. Given that fashion exists at a privileged nexus of space, time and self, it is inevitable that the various fashions and fashion creatures or victims of Proust be allotted their share of literary-critical attention.

[3] Yet it is not an extra-contextual glamour that interests me at this time: my fascination with Oriane, Naples' Queen, Albertine and Mme de Saint-Euverte is what I would call their "glamour-in-action," or the way in which their individual glamours [8]-and their glamours are quite distinctive, despite the fact that Oriane becomes, along with Elstir, M. de Charlus, and, in some oblique, "obtuse" [9] way, the Narrator, a fashion-educator to Albertine-function in particular situations. Since my one of my interests is the connection between fashion and death [10] in Proust, I have chosen scenes of considerable drama: Oriane's failure to countenance Swann's illness, the social ruination of M de Charlus at Mme Verdurin's salon, Albertine's break with the narrator and the fatal riding accident which occurs shortly thereafter, and the Narrator's reintegration into temporality. The "death" of these scenes contrasts sharply with their "fashion": Oriane's mismatched black shoes, the Queen of Naples' "hypostatized" fan, Albertine's "bildungsromanesque" devotion to the Fortuny label, and Mme de Saint-Euverte's dazzling immanent-transcendent Empire fuchsia. How is it that at moments of impending or ongoing disaster, it is fashion which rushes in to absorb or deflect negative energies? Why give fashion this role? For Proust, the accoutrement, the piece, the detail, [11] acts the part of sponge, somehow-a Proustian miracle of incarnation-standing in for the ineffable, the inexorable, the impossible, which it expresses, diverts, and makes possible with a certain fall into concreteness. The radical concreteness of Oriane's black shoes vis-à-vis Swann's illness, of the Queen of Naples' fan vis-à-vis the social decline of Palamède, of the Fortuny label vis-à-vis Albertine's break with the Narrator, or Mme de Saint-Euverte's dress vis-à-vis oblivion, startle, amaze, horrify: how is it that these things are able to do the work of the abstract, that they are able to crystallize at such decisive moments? "In action," fashion and, fashion's nimbus or aura, or perhaps even the electron cloud surrounding fashion (if we are to borrow Niels Bohr's language), glamour, point to the extreme importance of surface in Proust-or, to phrase it more eloquently and, ontologically, more richly, point to the indivisibility of surface from "subface," of appearance from truth, the cutaneous from the visceral. For, as we have learned from our first educator, Odette, "fashion" is one of the sites at which distinctions between interior and exterior are frustrated, her radical vestimentary juxtapositions, the "x within an x" structure of her "Chinese puzzle box" chic, illuminating the indissolubleness and holism of inner and outer phenomena and their aspects. [12]

[4] Furthermore, in light of the fact that what I have called the Proustian Circuit is itself a pattern for a dress, [13] it is imperative for those of us who have come out of this circuit to examine the dress we find ourselves wearing after Proust has clothed us. At the conclusion to Time Regained, the Narrator reflects on his choice of aesthetic process:

And-for at every moment the metaphor uppermost in my mind changed as I began to represent to myself more clearly and in a more material shape the task upon which I was about to embark-I thought that at my big deal table, under the eyes of Françoise, who like all unpretentious people who live at close quarters with us would have a certain insight into the nature of my labours (and I had sufficiently forgotten Albertine to have forgiven Françoise anything that she might have done to injure her), I should work beside her and in a way almost as she worked herself (or at least as she had worked in the past, for now, with the onset of old age, she had almost lost her sight) and, pinning here and there an extra page, I should construct my book, I dare not say ambitiously like a cathedral, but quite simply like a dress" (1089-1090).

Rejecting "cathedral-building" as operative metaphor for literary production, he looks to dressmaking for inspiration, writing his book not as Bergotte would have written it, nor as Elstir would have "painted" it, but as, had it been a dress, Françoise would have sewn it. With dressmaking occupying so grand a role as template for acts of literary creation, we encounter the flipside to "garment": "pattern." The novel's great tailors and dressmakers-namely, Françoise and Jupien-are the characters who own the famous "Open Sesame" which Charlus erroneously credits to himself, for it is they who are most in control of the action: hence Jupien will be in charge of the house of assignation the Narrator follows Saint-Loup into just previous to the air raid, and Françoise will provide both the inspiration and operative metaphor for Proust's artistic process. With glamour and its sisters occupying so frivolous yet so central a position in Proust's novel-glamour, fashion, garment, pattern, fashion theory-it is imperative for me to investigate the workings of glamour in the four specific circumstances I have enumerated, my hope all the while being to come away from the cosmic dress of Mme de Saint-Euverte, that sartorial grand finale and Proust's fashion coup de grace, his final fashion conundrum, more attuned to the temporal and eternal significances of glamour, and to its (glamour's) redistribution of surface phenomena, its deployment of pattern for purpose.
Mme La Duchesse: Vestimentary Anacoluthon

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Bel~Technik|^af Today 20:30

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21:34 Chat by BummerHosting.com 5.0, Build #702
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21:35 C.P.B.
what did you think of it ef
21:35 f1
eF: yeh- i forgot them- i recall when i got my snes/famiciom years ago- wow! gamepads rule
21:35 eF
it runs dumps of the original roms from 80’s arcade games
21:35 TTbel
nice eve ’snow patrol‘ 8byte
21:35 f1
TTbel: greetings mr bel
21:35 C.P.B.
hi bel
21:35 eF
so yoru playing the actual game, insert coin and eveything
» hey bel
21:35 TTbel
Shears O‘rear
» ooo^^^oooo
21:36 f1
eF: i seen something called ‚mame‘ mentioned
21:36 TTbel
Whats 1up Westminsth Zeastoo
21:36 eF
whos that bel
21:36 TTbel
sky suggest postaf Hamburg
21:36 f1
eF: i have a table arcade machine/retro thing here in the living room
» bought it few years ago
» got hdd with a load of old retro games on it