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Ces eaux que lřon dit dormantes Ces eaux que l’on dit dormantes Mythes, personnages féminins et paysages aquatiques dans la littérature francophone décadente et symboliste à lřaide des Humanités numériques Caterina da Lisca TESI DOCTORAL UPF / ANY 2014 CODIRECTORA Dra. Montserrat Cots Vicente ● Universitat Pompeu Fabra CODIRECTOR Dr. Paul Aron ● Université Libre de Bruxelles DEPARTAMENT DřHUMANITATS Fernand KHNOPFF Avec Grégoire Le Roy. Mon cœur pleure d'autrefois (1889) Crayon, crayon de couleur et craie blanche sur papier gris-bleu, 25,5 x 14,5 cm. The Hearn Family Trust, New York Ici toute une vie invisible est enclose Qui n'a laissé voir d'elle et d'un muet tourment Que ce que laisse voir une eau d'aspect dormant Où la lune mélancoliquement se pose. L'eau songe; elle miroite; et l'on dirait un ciel, Tant elle s'orne d'étoiles silencieuses. O leurre de ce miroir artificiel! Apparence ! Sérénités fallacieuses! Sous la blanche surface immobile, cette eau Souffre; d'anciens chagrins la font glacée et noire; Qu'on imagine, sous de l'herbe, un vieux tombeau De qui le mort, mal mort, garderait la mémoire. O mémoire, par qui même les clairs instants Sont douloureux et comme assombris d'une vase; L'eau se dore de ciel; le chœur des roseaux jase; Mais le manque de joie a duré trop longtemps. Et cette eau qu'est mon âme, en vain pacifiée, Frémit d'une douleur qu'on dirait un secret, Voix suprême d'une race qui disparaît, Et plainte, au fond de l'eau, d'une cloche noyée! Georges RODENBACH, « Epilogue » Les vies encloses (1896) Résumé Notre thèse se propose dřinventorier les thèmes qui découlent du motif des « eaux dormantes » −motif qui est un des traits caractéristiques de la littérature francophone décadente et symboliste (1860-1910)− dans une perspective résolument comparatiste et à lřaide des humanités numériques. Il sřagit dřune étude thématique fort instructive qui embrasse plusieurs aires culturelles et qui voudrait ouvrir un dialogue entre les chercheurs dřautres disciplines traditionnelles (telles que la mythocritique, les études de lřintertextualité, les études de lřimaginaire, lřhistoire littéraire) et les théoriciens des plus récentes humanités numériques, au bénéfice de leur complémentarité. Ainsi, le présent travail explore de façon systématique la réécriture des mythes, des personnages, des cosmogonies et des paysages aquatiques qui sřinscrivent dans la seconde moitié du XIXe siècle, avec un regard particulier sur les œuvres des symbolistes belges : Eugène Demolder, Georges Eekhoud, Max Elskamp, Iwan Gilkin, Albert Giraud, Théodore Hannon, Grégoire Le Roy, Maurice Maeterlinck, Georges Rodenbach, Charles Van Lerberghe, Emile Verhaeren et Max Waller. En plus de revenir sur une période profusément analysée avec une nouvelle disposition d'esprit et dřaprès une comparaison différentielle, notre travail constitue une tentative de repenser lřhistoire littéraire. Il sřagit dřun « parcours » nourri dřextraits dřœuvres, accompagné dřune réflexion théorique et empirique sur les applications possibles de lřinformatique dans les études littéraires des corpus numérisés. Resum The purpose of this essay is to make an inventory of themes originated by the literary concept of Řstill watersř, a characteristic feature of Decadentism and Symbolism (1860-1910). By exploring several cultural areas, our aim is to analyze such themes from a comparative perspective and by means of Digital Humanities. The result tries to be a complete and informative topical study, attempting to start a dialogue between researchers from traditional disciplines (such as myth criticism, intertextual studies, studies of the imagination, literary history) and theorists of the fairly recent field of Digital Humanities, to the benefit of their complementarity. We systematically explore the rewriting of myths, characters, cosmologies and waterscapes that emerged in France and Belgium in the second half of the nineteenth century, with a particular focus on Belgian authors : Eugène Demolder, Georges Eekhoud, Max Elskamp, Iwan Gilkin, Albert Giraud, Théodore Hannon, Grégoire Le Roy, Maurice Maeterlinck, Georges Rodenbach, Charles Van Lerberghe, Emile Verhaeren and Max Waller. In addition to rethinking, with a new mindset, about a profusely analyzed period, we also attempt to develop a different view on the history of literature and its paradigms. This study includes many extracts of literary works, together with a theoretical and empirical cogitation of potential computer applications in the literary studying of digitalized works. Remerciements Jřaimerais exprimer ma plus profonde reconnaissance à Mme. Montserrat Cots qui a co-dirigé mon travail, mřa orientée et mřa soutenu pendant ce long marathon. Elle a guidé mes premiers pas dans la recherche depuis mon D.E.A. avec passion et patience. Jřai trouvé auprès dřelle une écoute attentive et une grande générosité dřesprit. Elle a marché à mes côtés pour me donner du courage quand jřétais sans forces et pour me donner de lřeau quand ma bouche était sèche. Ma gratitude et ma vive reconnaissance va également à mon co-directeur de thèse, Mr. Paul Aron, Directeur de recherches FNRS et Professeur dřhistoire de la littérature française à lřUniversité Libre de Bruxelles, qui mřa accordé sa confiance et mřa conseillée pendant ces années. Je lui dois mon grand amour pour la littérature belge francophone. Je remercie tout particulièrement Luc Wanlin, Ingénieur informatique aux Archives et Musée de la Littérature de Bruxelles, ainsi que toute lřéquipe des bibliothécaires et le directeur Mr. Marc Quagebeur. Ils mřont réservé toujours un chaleureux accueil ; leur professionnalisme et sympathie ont été des moteurs pour le bon déroulement de ce travail. Je tiens également à souligner la gentillesse dřAitor Canal Cases et Ramon Maseda Puga, les techniciens en informatique à la Factoria de lřUniversitat Pompeu Fabra, ainsi que lřamabilité et la promptitude avec lesquelles Marc Esteve Crespo, Ingénieur informatique, mřa efficacement aidée dans la phase finale du travail. Sans lui la troisième partie nřaurait pas été possible. Ma sincère gratitude envers tous les professeurs qui se sont succédé tout au long de mon éducation, jusqu'à Mr. Jean Robaey, Professeur de littérature française à lřUniversità degli Studi di Ferrara qui a dirigé mon mémoire de fin d'étude pour l'obtention de ma maîtrise. Un énorme merci à lřensemble des membres du jury et à tous ceux qui ont aimablement relu mon travail, tout particulièrement Mme Chantal Delmas qui a revu et corrigé le manuscrit final. Ces années universitaires, mřont permis de faire des rencontres très enrichissantes et des amitiés durables. Je tiens donc à remercier ici les collègues avec qui jřai partagé les joies et les peines, les piètres repas et les nuits interminables dans la salle des doctorants de lřUniversitat Pompeu Fabra : Joan A., Laura C., Cristina O., Giuliana, Jesús B., Rodrigo E., Nicole S., Antonio R., Ana María E., Giovanni et Ernesto V. Un grand merci également au secrétariat du Département : Àngels Bertran Ambròs et Maite Sastre Alsina. Il me reste la tâche agréable de remercier chaleureusement les amis pour leur constante bonne humeur, leur support physique et moral : Amaiur F., Irene, C., Marta N., Esther M., Anna B., Sarah P., Sara M., Sarah K., Melina P., Andrea T., Francisco S., Alex F., Carol P., Iraklis K., Montse T., Jordi F., Jorge M., Virginia T., Elisabetta D., Giulia C., Emma W., Elena M., Simone D., Alice G., Carla L., Silvia, Vittoria M., Annafré, Eleonora B., Angela L., Ricardo R., Marc C., Imma V., Marco S., Gabo C., Rachele S., Martina G., Régis L., Fabrizio R., Nadia B., Nicolas H., Paola di R., Maria Chiara G., Esther M., Esther P., Joana S., Cristy C., Mariela O. et Alfredo L. Je finirai ces remerciements par mes proches. Je remercie infiniment ma grand-mère, mes parents Silvana et Umberto, mes frères Alessandro et Rossella, Susanna et le petit Luigi Leonardo, qui mřont toujours laissée libre dans mes choix et qui nřont jamais cessé de croire en moi. Ce livre appartient à tous ceux qui ont patiemment attendu le « grand final » avec moi. Table de matières Pag. Résumé................................................................................................................ i Remerciements................................................................................................ ii Introduction....................................................................................................... 1 Première partie THÉMATOLOGIE, MYTHOCRITIQUE ET HISTOIRE LITTÉRAIRE À LřÈRE DES HUMANITÉS NUMÉRIQUES 1. Thèmes, mythes, personnages et paysages aquatiques.......... 33 1.1. Actualité et interdisciplinarité des études thématiques...... 34 1.1.1. Frontières et contradictions de la discipline.................. 38 1.2. Les eaux dormantes : un motif mythique.................................. 49 1.2.1. Approche aux mythes fondateurs....................................... 54 1.2.2. Cosmogonies des origines et Dieux antiques............... 60 1.2.2.1. L'influence du Primitivisme flamand..................... 69 1.3. La matière liquide et lřimaginaire................................................ 73 1.3.1. Âme du paysage et paysage de lřâme............................... 77 1.3.1.1. La conscience du paysage............................................ 79 1.3.2. Paysage intime, paysage imagé........................................... 81 2. Convergence : motif et histoire littéraire...................................... 91 e 2.1. Les avatars du motif au XIX siècle……...................................
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  • PIERROT LUNAIRE Music Arnold Schoenberg Text Otto Erich

    PIERROT LUNAIRE Music Arnold Schoenberg Text Otto Erich

    PIERROT LUNAIRE music Arnold Schoenberg text Otto Erich Hartleben from the original poems by Albert Giraud concept and staging Controluce Teatro d'Ombre staging colaboration Rosa Mogliasso, original silhouettes Cora De Maria with Cora De Maria, Alberto Jona, Jenaro Meléndrez Chas, Marco Intraia Project Trio Debussy-Controluce Teatro d'Ombre (2008) Alessandro Maria Carnelli-Controluce Teatro d'Ombre (2018) live music performance Premiere, 31st may 2008, at the Festival Tra Futuro e Passato, with Trio Debussy The pale laundress, the smell of old fairy tales, the gallows and the moon hanging bloody... Controluce faces a fundamental work of twentieth-century music: Pierrot Lunaire by Arnold Schoenberg. Written for the actress and cabaret Zehme Albertina in 1912, the Pierrot Lunaire is a turning point in the history of music of the last century. The “atonal absolute freedom”, as well as the invention of Sprechgesang (that enigmatic point between singing and recitation originated from the cabaret of the time) are the main characteristics marking the composition and making it a dreamlike journey among canons, fugues and passacaglia. The amazed symbolism of Albert Giraud's poems, through the music of Schoenberg and the German translation of the texts, opens to a sick and morbid expressionism in which the figure of Bergamo’s mask stands grotesque and terrible. Controluce follows ideally the threefold division imagined by Schoenberg, in a tour around themes as love, sex and religion in the first group, violence, crime and blasphemy in the second, or the ideas of returning to the past and nostalgia in the third group. The relationship between shadows and music was marked by the idea of evoking and suggesting an imaginary world that, without imposing a particular thread, let the eyes following the escape routes proposed by the music.