Faça o Download ou Leia Online Em Busca do Tempo Perdido - Marcel Proust livros gratis (PDF, ePub, Mobi), Em busca do tempo perdido (do francês À la. 4 days ago Em Busca do Tempo Perdido by Marcel Proust is Paranormal Em busca do tempo perdido (do francês À la recherche du temps perdu) é uma. Em busca do tempo perdido. O sequestro da história na cibercultura e os desafios da teoria da mídia. Article (PDF Available) · January with 49 Reads.
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Get Instant Access to Do Lado De Swann Em Busca Do Tempo Perdido Volume 1 (Portuguese. Edition) By Marcel Proust #ffa5 EBOOK EPUB KINDLE PDF. Get Instant Access to Em Busca Do Tempo Perdido: No Caminho De Swann Vol. 1 By Marcel Proust. #c EBOOK EPUB KINDLE PDF. Read Download. Box Em busca do tempo perdido by Marcel Proust is Classics Em busca do tempo perdido é uma das maiores criações da literatura mundial.
ISSN When also emphasize your mythical character invention of gaucho traditions by traditionalists as a differentiator in this production of regional identities, in relation to Brazil aims to engage with the author's analysis, and the field opened by Hobsbawm and Ranger The Enart is presented here through a parallel between ethnographic data of editions and The event, at the 27th editing is an art competition traditionalist major happens in three phases, each year. Their final phase, which reaches mega proportions, occurs in November in the city of Santa Cruz do Sul. Meets amateur artists representing centers Gaucho Traditions CTGs in various forms, such as traditional dances, recitation, singing, musical instruments, etc.
It is understood that the history of humanity passes through the work and the transformations that it accomplishes, so that understanding the work process becomes important for the understanding of society and social relations, including in the context of health work.
Cadernos Cefor, 1. Corroborating this idea, Peduzzi and Schraiber , P. Acesso em: 9 de abril de Campos , P. These meetings are, therefore, essential in the health work process, and particularly important in the Alcohol and Drugs Psychosocial Care Center Capsad , since this is a reference service in the network of attention to users of psychoactive substances, based on therapeutic and preventive activities to the community BRAZIL, BRASIL.
Then, there are several possibilities for activities to be offered by Capsad, such as individual care, which includes medication; psychotherapy; orientation; group activities; therapeutic workshops; home visits etc. These activities are based on interpersonal relationships and the encounter between worker and user. Rio Gd. Sul, Porto Alegre, v. With this in view, in this article, the harmful effects identified by workers in the work process of a Capsad are analyzed.
For the selection of the research local, were analyzed the recent municipal information from the seven cities of the metropolitan region where the research was performed regarding the network of attention to users of psychoactive substances. It was decided, therefore, to investigate a municipality of thousand inhabitants, with only one Capsad.
As the focus was on analyzing the effects experienced by the workers, such choice was due to the belief that the precariousness of the network of attention in alcohol and drugs contributed to these findings. Data collection was performed between the months of january and april of , based on three techniques: daily observation, team meetings and meetings with users; collective interview; and in-depth interviews. Comunidade ampliada de pesquisa. Psicologia Social: temas em debate.
Editora, The in-depth interview was used with 13 workers, starting with 'what do you think about working here? It is emphasized that the participants voluntarily signed the Informed Consent Form, through which they had the guarantee of the confidentiality of their identity and the information provided.
This way, the identification of the selected sections happened in three ways: 'Worker' or 'Worker in circle', when related to statements; and 'Field diary', when the excerpt of observation of the author was based on daily observation. Results and discussion Among so many questions observed in the field of research, several difficulties presented by the workers were highlighted to understand the events of their demanding profession.
It is highlighted the fact that the daily work has been marked by intense demands for care, by users with abstinence symptoms or in crisis. This makes it hard to be done, so that, among the effects are the wear, fear, sickness, feeling of uselessness and impotence of action, which eventually lead to exhaustion. Thus, to assist in the production of the sense of life of the other, by offering vital energy, in many cases, the consumption of the worker occurs when, in the absence of anything for himself, he, in fact, goes into combustion.
When experiencing these effects, the worker does not envisage possibilities to generate changes in work, in a way that he experiences an affective distancing paralysis and automatism.
Such concept is linked to the specificity of health work, since that, for the author, this effort to give meaning to another person's life, lending him the desire, can lead to combustion, when no measures of sharing and analysis of the work process are taken. Wear The group demands a lot, it is tiring [ The service at Capsad is very tiring, 'it wears a lot'.
It is very difficult to work with teenagers The work ends up being more exhausting, you get very tired. It is very tiring, the head gets tired. It's like when you're studying hard and it seems that the body hurts too. There are days I get home exhausted. As can be seen, wear was evidenced in many circumstances of work in Capsad, either when coordinating a group with adults, with adolescents or in daily service.
It is observed that in all situations listed, the encounter with the other was essential, to require the worker to establish interpersonal relations and the involvement of his subjectivity MERHY, MERHY, E. The authors claim, also, that health workers do not realize that they spend their lives defending the lives of others.
Thus, wear is a sign of combustion, as seen in speech "[ There are days I get exhausted at home" Worker4. Stress You have to have a lot of balance to deal with addiction patients because they are very unstable, it is very difficult.
Just like the day when I was very stressed, the patient was manipulative I was very stressed, you know? Dealing with chemical dependency is very difficult.
In the testimony, it is observed that the situations of instability of the users, inherent to the treatment of chemical dependence, are sources of stress for the workers, since they experience these situations daily. Thus, the statement "you have to be a very balanced person" Worker1 emphasizes that experiencing these situations is, in fact, difficult and requires some preparation of the worker so that there is no combustion. There is also, as in the case below, the stress arising from interpersonal relations among workers: The worker, then, wanted to tell me about a meeting where he 'exploded'.
He said that, due to the lack of communication of the reception desk, he went through an embarrassing situation, in which the psychiatric patient complained about his conduct to the management He even punched the table and altered his voice to show his indignation.
Field diary. Any worker is subject to experiencing episodes in which there are conflicts in the communication between the members of the team. However, the report above highlights an indignation because the fact has been occurred repeatedly, even more related to mental health care, which would require greater attention and empathy.
As it is observed, the worker claims to have 'exploded' and punched the table - clear signs of combustion. In this point, it is emphasized that the production of care in Capsad is based on the encounter and the establishment of bonds, however, combustion does not favor this production and, thus, implies difficulties in the encounter between worker and user.
Fear Such effect was highlighted by those who perform external activities, such as taking users of daily attention to rides: [ The other said: 'I'm afraid to get out of the car with them I do not know what they can do, who they can find in the street'. Another said, 'What can happen outside, happens here [in Capsad], too'.
Worker in circle. The phrase "What can happen outside, happens here, too" is highlighted, since it enlarges the situations of fear and, therefore, of combustion, due to the requirement of permanence in state of attention.
Much of the testimony related to fear referred to the compulsory hospitalization activity, as described below: [ You're in the forefront of the battle. But, I know it's very dangerous, there's a lot of risk for us, because we do not know if the guy is armed, right? We don't have an escort, nothing There was the case of a user, that we interned and he made a sign that he wanted to cut himself, cut his fists.
We were scared to death. I said: 'What if he takes a knife and tries to kill himself? What are we going to do? According to Merhy , P. In this sense, it is imperative that there be forms of relief for such workers, to increase their capacity to act.
It is necessary to think of ways to articulate the intersectoral network, so that there is greater security, and to create ways of problematizing the practices so that these workers articulate tools against the demands of compulsory hospitalization. Permanent Education in Health PEH is indicated as a possible path for the transformation of care production.
It is understood, therefore, that the proposal of the National Policy of Permanent Education in Health NPPEH is current and its implementation is necessary, but it is known that, for this to occur, it is necessary the involvement of workers and managers. It is worth mentioning, also, that PEH constitutes a strategy for the reorganization of the work process based on the problematization, that is, it goes far beyond the idea of offering training and courses, and it is a proposal of transformation in front of all the effects that will be seen next.
Action powerlessness The 'action powerlessness' appears whenever professionals claim that there is nothing to be done to improve the bureaucratized, non-humanized attendance performed by some of the workers: "[ We were disappointed! But let's do what? X [the management] says that this is so" Workers in circle. It can be seen, therefore, that situations of powerlessness are expressed in interpersonal relations - be it between the worker and the user or between the workers themselves - and in the intersubjective relations - relational and affective.
There is, apparently, awareness of the problems and a certain desire for change - however, extremely limited - to change the situation. In the testimony above, it is perceived, still, a certain paralysis in the face of powerlessness.
It seems that dialogue and listening were not considered as possible tools of change in the conduct of the professional in question. Because of it, the waiting for an attitude of management. And besides it, the management, personified in the person of the board, is always distant from the assistance.
With this framework, it is very difficult to pay attention to the demands of the user and to establish "a permanent commitment to the task of receiving, taking responsibility, solving, autonomizing", as postulated by Merhy , P. On another occasion, workers reported the impotence of action in the face of a case: Another point of agenda was the 'case of user X'.
At this point, a professional - a reference technician of X - said that he no longer wanted this function, because he felt that he could no longer withstand the demand and that he did not add to the patient anymore.
However, as can be seen, situations of powerlessness seem to imply a situation of paralysis, in which the worker prefers to stop exercising his function because he does not know what to do. It should be pointed out that such withdrawal was not even analyzed by the group that opted for the exchange of the worker who performed the role of reference technician of the user in question.
This volume includes a noteworthy episode describing Paris during the First World War. Synopsis[ edit ] The novel recounts the experiences of the Narrator who is never definitively named while he is growing up, learning about art, participating in society, and falling in love.
Volume One: Swann's Way[ edit ] Wikiquote has quotations related to: Swann's Way Illiers, the country town overlooked by a church steeple where Proust spent time as a child and which he described as "Combray" in the novel.
The town adopted the name Illiers-Combray in homage. She served as partial inspiration for the character of Odette. The Narrator begins by noting, "For a long time, I went to bed early. He remembers being in his room in the family's country home in Combray, while downstairs his parents entertain their friend Charles Swann, an elegant man of Jewish origin with strong ties to society.
Due to Swann's visit, the Narrator is deprived of his mother's goodnight kiss, but he gets her to spend the night reading to him. This memory is the only one he has of Combray, until years later the taste of a madeleine cake dipped in tea inspires a nostalgic incident of involuntary memory.
He remembers having a similar snack as a child with his invalid aunt Leonie, and it leads to more memories of Combray. He meets an elegant "lady in pink" while visiting his uncle Adolphe. He develops a love of the theater, especially the actress Berma, and his awkward Jewish friend Bloch introduces him to the works of the writer Bergotte. He learns Swann made an unsuitable marriage but has social ambitions for his beautiful daughter Gilberte. Legrandin, a snobbish friend of the family, tries to avoid introducing the boy to his well-to-do sister.
Gilberte makes a gesture that the Narrator interprets as a rude dismissal. During another walk, he spies a lesbian scene involving Mlle Vinteuil, daughter of a composer, and her friend. The Guermantes way is symbolic of the Guermantes family, the nobility of the area. The Narrator is awed by the magic of their name, and is captivated when he first sees Mme de Guermantes.
He discovers how appearances conceal the true nature of things, and tries writing a description of some nearby steeples.
Lying in bed, he seems transported back to these places until he awakens. Mme Verdurin is an autocratic hostess who, aided by her husband, demands total obedience from the guests in her "little clan". One guest is Odette de Crecy, a former courtesan , who has met Swann and invites him to the group.
Swann is too refined for such company, but Odette gradually intrigues him with her unusual style. A sonata by Vinteuil , which features a "little phrase," becomes the motif for their deepening relationship. The Verdurins host M. Swann grows jealous of Odette, who now keeps him at arm's length, and suspects an affair between her and Forcheville, aided by the Verdurins.
Swann seeks respite by attending a society concert that includes Legrandin's sister and a young Mme de Guermantes; the "little phrase" is played and Swann realizes Odette's love for him is gone. He tortures himself wondering about her true relationships with others, but his love for her, despite renewals, gradually diminishes.
He moves on and marvels that he ever loved a woman who was not his type. He holds her father, now married to Odette, in the highest esteem, and is awed by the beautiful sight of Mme Swann strolling in public. Years later, the old sights of the area are long gone, and he laments the fleeting nature of places. With Norpois's intervention, the Narrator is finally allowed to go see Berma perform in a play, but is disappointed by her acting.
Afterwards, at dinner, he watches Norpois, who is extremely diplomatic and correct at all times, expound on society and art. The Narrator gives him a draft of his writing, but Norpois gently indicates it is not good. Her parents distrust him, so he writes to them in protest. He and Gilberte wrestle and he has an orgasm. Gilberte invites him to tea, and he becomes a regular at her house. He observes Mme Swann's inferior social status, Swann's lowered standards and indifference towards his wife, and Gilberte's affection for her father.
The Narrator contemplates how he has attained his wish to know the Swanns, and savors their unique style. At one of their parties he meets and befriends Bergotte, who gives his impressions of society figures and artists. But the Narrator is still unable to start writing seriously.
His friend Bloch takes him to a brothel, where there is a Jewish prostitute named Rachel. He showers Mme Swann with flowers, being almost on better terms with her than with Gilberte. One day, he and Gilberte quarrel and he decides never to see her again. However, he continues to visit Mme Swann, who has become a popular hostess, with her guests including Mme Bontemps, who has a niece named Albertine.
The Narrator hopes for a letter from Gilberte repairing their friendship, but gradually feels himself losing interest. He breaks down and plans to reconcile with her, but spies from afar someone resembling her walking with a boy and gives her up for good. He stops visiting her mother also, who is now a celebrated beauty admired by passersby, and years later he can recall the glamour she displayed then. The Narrator is almost totally indifferent to Gilberte now.
During the train ride, his grandmother, who only believes in proper books, lends him her favorite: the Letters of Mme de Sevigne. At Balbec, the Narrator is disappointed with the church and uncomfortable in his unfamiliar hotel room, but his grandmother comforts him.
He admires the seascape, and learns about the colorful staff and customers around the hotel: Aime, the discreet headwaiter; the lift operator; M. His grandmother encounters an old friend, the blue-blooded Mme de Villeparisis, and they renew their friendship. The three of them go for rides in the country, openly discussing art and politics. The Narrator longs for the country girls he sees alongside the roads, and has a strange feeling of unexplained memory while admiring a row of three trees.
Mme de Villeparisis is joined by her glamorous great-nephew Robert de Saint-Loup, who is involved with an unsuitable woman. Despite initial awkwardness, the Narrator and his grandmother become good friends with him. Bloch, the childhood friend from Combray, turns up with his family, and acts in typically inappropriate fashion. Saint-Loup's ultra-aristocratic and extremely rude uncle the Baron de Charlus arrives. The Narrator discovers Mme de Villeparisis, her nephew M.
Charlus ignores the Narrator, but later visits him in his room and lends him a book. The next day, the Baron speaks shockingly informally to him, then demands the book back.
The Narrator ponders Saint-Loup's attitude towards his aristocratic roots, and his relationship with his mistress, a mere actress whose recital bombed horribly with his family.
One day, the Narrator sees a "little band" of teenage girls strolling beside the sea, and becomes infatuated with them, along with an unseen hotel guest named Mlle Simonet. He joins Saint-Loup for dinner and reflects on how drunkenness affects his perceptions.
Later they meet the painter Elstir, and the Narrator visits his studio. The Narrator marvels at Elstir's method of renewing impressions of ordinary things, as well as his connections with the Verdurins he is "M. Biche" and Mme Swann. He discovers the painter knows the teenage girls, particularly one dark-haired beauty who is Albertine Simonet.
The group goes for picnics and tours the countryside, as well as playing games, while the Narrator reflects on the nature of love as he becomes attracted to Albertine. Despite her rejection, they become close, although he still feels attracted to the whole group. At summer's end, the town closes up, and the Narrator is left with his image of first seeing the girls walking beside the sea. The Narrator is fascinated by the Guermantes and their life, and is awed by their social circle while attending another Berma performance.
He begins staking out the street where Mme de Guermantes walks every day, to her evident annoyance. He decides to visit her nephew Saint-Loup at his military base, to ask to be introduced to her. After noting the landscape and his state of mind while sleeping, the Narrator meets and attends dinners with Saint-Loup's fellow officers, where they discuss the Dreyfus Affair and the art of military strategy. But the Narrator returns home after receiving a call from his aging grandmother.
Mme de Guermantes declines to see him, and he also finds he is still unable to begin writing. Saint-Loup visits on leave, and they have lunch and attend a recital with his actress mistress: Rachel, the Jewish prostitute, toward whom the unsuspecting Saint-Loup is crazed with jealousy.
The Narrator then goes to Mme de Villeparisis's salon , which is considered second-rate despite its public reputation. Legrandin attends and displays his social climbing. Bloch stridently interrogates M. The Narrator observes Mme de Guermantes and her aristocratic bearing, as she makes caustic remarks about friends and family, including the mistresses of her husband, who is M.
Mme Swann arrives, and the Narrator remembers a visit from Morel, the son of his uncle Adolphe's valet, who revealed that the "lady in pink" was Mme Swann. At home, the Narrator's grandmother has worsened, and while walking with him she suffers a stroke. The family seeks out the best medical help, and she is often visited by Bergotte, himself unwell, but she dies, her face reverting to its youthful appearance. Several months later, Saint-Loup, now single, convinces the Narrator to ask out the Stermaria daughter, newly divorced.
Albertine visits; she has matured and they share a kiss. The Narrator then goes to see Mme de Villeparisis, where Mme de Guermantes, whom he has stopped following, invites him to dinner. The Narrator daydreams of Mme de Stermaria, but she abruptly cancels, although Saint-Loup rescues him from despair by taking him to dine with his aristocratic friends, who engage in petty gossip. Saint-Loup passes on an invitation from Charlus to come visit him. The next day, at the Guermantes's dinner party, the Narrator admires their Elstir paintings, then meets the cream of society, including the Princess of Parma, who is an amiable simpleton.
He learns more about the Guermantes: their hereditary features; their less-refined cousins the Courvoisiers; and Mme de Guermantes's celebrated humor, artistic tastes, and exalted diction although she does not live up to the enchantment of her name. The discussion turns to gossip about society, including Charlus and his late wife; the affair between Norpois and Mme de Villeparisis; and aristocratic lineages.
Leaving, the Narrator visits Charlus, who falsely accuses him of slandering him. The Narrator stomps on Charlus's hat and storms out, but Charlus is strangely unperturbed and gives him a ride home. Months later, the Narrator is invited to the Princesse de Guermantes's party. He tries to verify the invitation with M. They will be attending the party but do not help him, and while they are chatting, Swann arrives.
Now a committed Dreyfusard, he is very sick and nearing death, but the Guermantes assure him he will outlive them. The fourth volume opens with a discussion of the inhabitants of the two Biblical "cities of the plain". The Narrator describes what he had seen earlier: while waiting for the Guermantes to return so he could ask about his invitation, he saw Charlus encounter Jupien in their courtyard. The two then went into Jupien's shop and had intercourse.
The Narrator reflects on the nature of " inverts ", and how they are like a secret society, never able to live in the open. He compares them to flowers, whose reproduction through the aid of insects depends solely on happenstance. Arriving at the Princesse's party, his invitation seems valid as he is greeted warmly by her. He sees Charlus exchanging knowing looks with the diplomat Vaugobert, a fellow invert. After several tries, the Narrator manages to be introduced to the Prince de Guermantes, who then walks off with Swann, causing speculation on the topic of their conversation.
Mme de Saint-Euverte tries to recruit guests for her party the next day, but is subjected to scorn from some of the Guermantes. Charlus is captivated by the two young sons of M. Saint-Loup arrives and mentions the names of several promiscuous women to the Narrator.
Swann takes the Narrator aside and reveals the Prince wanted to admit his and his wife's pro-Dreyfus leanings. Swann is aware of his old friend Charlus's behavior, then urges the Narrator to visit Gilberte, and departs. The Narrator leaves with M. He grows frantic when first she is late and then calls to cancel, but he convinces her to come.
He writes an indifferent letter to Gilberte, and reviews the changing social scene, which now includes Mme Swann's salon centered on Bergotte. He decides to return to Balbec, after learning the women mentioned by Saint-Loup will be there.
At Balbec, grief at his grandmother's suffering, which was worse than he knew, overwhelms him. He ponders the intermittencies of the heart and the ways of dealing with sad memories. His mother, even sadder, has become more like his grandmother in homage. Albertine is nearby and they begin spending time together, but he starts to suspect her of lesbianism and of lying to him about her activities.
On the way to visit Saint-Loup, they meet Morel, the valet's son who is now an excellent violinist, and then the aging Charlus, who falsely claims to know Morel and goes to speak to him. The Narrator visits the Verdurins, who are renting a house from the Cambremers. On the train with him is the little clan: Brichot, who explains at length the derivation of the local place-names; Cottard, now a celebrated doctor; Saniette, still the butt of everyone's ridicule; and a new member, Ski.
The Verdurins are still haughty and dictatorial toward their guests, who are as pedantic as ever. Charlus and Morel arrive together, and Charlus's true nature is barely concealed. The Cambremers arrive, and the Verdurins barely tolerate them. Back at the hotel, the Narrator ruminates on sleep and time, and observes the amusing mannerisms of the staff, who are mostly aware of Charlus's proclivities. The Narrator and Albertine hire a chauffeur and take rides in the country, leading to observations about new forms of travel as well as country life.
The Narrator is unaware that the chauffeur and Morel are acquainted, and he reviews Morel's amoral character and plans towards Jupien's niece. The Narrator is jealously suspicious of Albertine but grows tired of her.
She and the Narrator attend evening dinners at the Verdurins, taking the train with the other guests; Charlus is now a regular, despite his obliviousness to the clan's mockery. He and Morel try to maintain the secret of their relationship, and the Narrator recounts a ploy involving a fake duel that Charlus used to control Morel.
The passing station stops remind the Narrator of various people and incidents, including two failed attempts by the Prince de Guermantes to arrange liaisons with Morel; a final break between the Verdurins and Cambremers; and a misunderstanding between the Narrator, Charlus, and Bloch.
The Narrator has grown weary of the area and prefers others over Albertine. But she reveals to him as they leave the train that she has plans with Mlle Vinteuil and her friend the lesbians from Combray which plunges him into despair.
He invents a story about a broken engagement of his, to convince her to go to Paris with him, and after hesitating she suddenly agrees to go immediately. The Narrator tells his mother: he must marry Albertine. He marvels that he has come to possess her, but has grown bored with her. The Narrator gets advice on fashion from Mme de Guermantes, and encounters Charlus and Morel visiting Jupien and her niece, who is being married off to Morel despite his cruelty towards her.
Albertine, who is more guarded to avoid provoking his jealousy, is maturing into an intelligent and elegant young lady. The Narrator is entranced by her beauty as she sleeps, and is only content when she is not out with others.
She mentions wanting to go to the Verdurins, but the Narrator suspects an ulterior motive and analyzes her conversation for hints. The Narrator compares dreams to wakefulness, and listens to the street vendors with Albertine, then she departs. He remembers trips she took with the chauffeur, then learns Lea the notorious actress will be at the Trocadero too.
When she returns, they go for a drive, while he pines for Venice and realizes she feels captive. He learns of Bergotte's final illness. That evening, he sneaks off to the Verdurins to try to discover the reason for Albertine's interest in them. He encounters Brichot on the way, and they discuss Swann, who has died. Charlus arrives and the Narrator reviews the Baron's struggles with Morel, then learns Mlle Vinteuil and her friend are expected although they do not come.
Morel joins in performing a septet by Vinteuil, which evokes commonalities with his sonata that only the composer could create. Mme Verdurin is furious that Charlus has taken control of her party; in revenge the Verdurins persuade Morel to repudiate him, and Charlus falls temporarily ill from the shock.
Returning home, the Narrator and Albertine fight about his solo visit to the Verdurins, and she denies having affairs with Lea or Mlle Vinteuil, but admits she lied on occasion to avoid arguments.
He threatens to break it off, but they reconcile. He appreciates art and fashion with her, and ponders her mysteriousness. He dispatches Saint-Loup to convince her aunt Mme Bontemps to send her back, but Albertine insists the Narrator should ask, and she will gladly return.
The Narrator lies and replies he is done with her, but she just agrees with him. Desperate, he begs Albertine to return, but receives word: she has died in a riding accident. The Narrator plunges into suffering amid the many different memories of Albertine, intimately linked to all of his everyday sensations.
He recalls a suspicious incident she told him of at Balbec, and asks Aime, the headwaiter, to investigate. He recalls their history together and his regrets, as well as love's randomness. Aime reports back: Albertine often engaged in affairs with girls at Balbec. The Narrator sends him to learn more, and he reports other liaisons with girls.
The Narrator wishes he could have known the true Albertine, whom he would have accepted. He begins to grow accustomed to the idea of her death, despite constant reminders that renew his grief. The Narrator knows he will forget Albertine, just as he has forgotten Gilberte. He happens to meet Gilberte again; her mother Mme Swann became Mme de Forcheville and Gilberte is now part of high society, received by the Guermantes.
The Narrator finally publishes an article in Le Figaro. The Narrator finally visits Venice with his mother, which enthralls him in every aspect. They happen to see Norpois and Mme de Villeparisis there. A telegram signed from Albertine arrives, but the Narrator is indifferent and it is only a misprint anyway.