Abstract: We know the importance afforded to translation and pastiche in Le Temps perdu. The aim here is to explore rewriting beyond these two forms by using the categories of intertextuality identified by Genette to analyze Proust’s autotextual play. Rewriting appears as a way of manifesting the artist’s vision, and it takes forms that are all the more varied since time, along with war, is a powerful agent for rewriting the novelistic universe and the narrative itself.
