Abstract
Because of his awareness that the surface of every narration is a tissue of signs, Proust is able to present a semiotic analysis of musical enunciation in his description (in La prisonnière) of a performance of the fictional Septet by Vinteuil. He shows music as a fait social total, in which the enunciate is in dialogue with the enunciation; and thus he discusses different ways of listening, different aspects of the composer as man and as musical subject, different metaphors of the music (spatial, visual or aural), different philosophical reflections, as well as the strictly musical characteristics of the enunciate, aspects of repetition and cyclic form. Musical communication is presented as a multilevelled whole in which one moves freely from one level to another, without the control of a unilinear generative principle such as that presented by Ingmar Bengtsson. A semiotic analysis is provided of the passage from Proust's novel, showing the interaction of actors, modalities and isotopies.
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