ABSTRACT
The dual narratological structure of A la recherche du temps perdu facilitates the juxtaposition of diverse spatio-temporal points of view on Marcel's objects of perception; it also contributes to the superimposition of multiple images of a single one. Poulet describes the Proustian narrative as one characterized by an unstable geological stratification of past and present, occasionally ruptured by the resurgence of the past via involuntary memory. His emphasis on intermittent involuntary memory as the only means of destabilizing the systematic burial of the past beneath the present disregards the fact that image superimposition also defines the representation of the world as seen by both Marcel and the later narrator. The transparency essential to composite photography and radiography is interesting because typically it marks an intermediate stage when making a photograph in the darkroom; yet in the case of composite photography and radiography it is fundamental to the end result.
