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Autoportraits Texte-Image Chez Leonor Fini

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Autoportraits Texte-Image Chez Leonor Fini « Dans mes peintures je ne dis jamais JE ». Autoportraits texte-image chez Leonor Fini Valérie Mandia Thèse soumise à la Faculté des arts dans le cadre des exigences du programme de doctorat en lettres françaises Département de français Faculté des arts Université d’Ottawa © Valérie Mandia, Ottawa, Canada, 2020 ii RÉSUMÉ ....................................................................................................................................... vii REMERCIEMENTS .................................................................................................................... viii LISTE DES SIGLES ....................................................................................................................... ix OUVERTURE .................................................................................................................................. 1 INTRODUCTION ............................................................................................................................ 8 1. La littérarité de l’œuvre d’une peintre ...................................................................................... 8 2. État de la question : l’expression plastique au détriment de l’expression littéraire dans le surréalisme au féminin .................................................................................................................. 9 3. Objectifs de recherche ............................................................................................................ 15 4. Corpus ..................................................................................................................................... 17 5. Méthodologie et outils théoriques .......................................................................................... 19 5.1 Démarche analytique intermédiale et picturocritique ....................................................... 20 5.2 Le « tiers pictural » ........................................................................................................... 22 5.3 Bris épistémologique : « ouvrir l’œil du texte » illisible .................................................. 24 5.4. Écriture de soi .................................................................................................................. 26 CHAPITRE I : LES LIVRES D’ARTISTE OU L’ENTRE-DEUX LIVRE ................................. 27 1. Présentation du corpus ............................................................................................................ 27 1.1. Des livres ouvertement autobiographiques ...................................................................... 27 1.2. Des livres à la lisière des genres ...................................................................................... 28 1.3. Confusion terminologique dans le discours critique : à chacun sa définition du livre d’artiste ................................................................................................................................... 28 1.4 Méthodologie plurielle : comment entrer dans ces livres? ............................................... 32 2. Itinéraire : comment entrer dans les livres d’artiste de Leonor Fini? ..................................... 33 2.1 Passer par la façade du texte ............................................................................................. 33 2.2 Plan intratextuel ................................................................................................................ 35 2.3 Plan intertextuel ................................................................................................................ 36 3. Analyse ................................................................................................................................... 36 3.1. Le Livre de Leonor Fini (1975) ....................................................................................... 36 3.1.1. Le livre en surface ..................................................................................................... 36 3.1.1.1. Paratextes auctorial et éditorial ........................................................................... 37 3.1.1.2. Le titre................................................................................................................. 42 3.1.1.3. Images paratextuelles ......................................................................................... 43 a. La couverture ........................................................................................................... 43 b. Les pages de garde et la page de faux-titre .............................................................. 44 3.1.1.4. La préface ........................................................................................................... 46 iii a. Le Musée imaginaire ................................................................................................ 46 b. « Dans les pas de la main » ...................................................................................... 49 3.1.1.5. Le pacte de lecture .............................................................................................. 51 3.1.1.6. L’index illustré .................................................................................................. 53 3.1.2. Plan intratextuel : intermédialité à l’œuvre ............................................................... 57 3.1.2.1. Espace familial ................................................................................................... 58 3.1.2.2. Espace-je(ux) ...................................................................................................... 66 a. Je(ux) de scène ......................................................................................................... 66 b. Je(ux) de l’image ...................................................................................................... 75 3.1.2.3. Des espaces intermédiaires ................................................................................. 77 a. Les trains .................................................................................................................. 77 b. La morgue ................................................................................................................ 79 3.1.3. Plan intertextuel ......................................................................................................... 82 3.1.3.1 Textes littéraires de Leonor Fini .......................................................................... 82 3.1.3.2. Hybridité de la voix narrative ............................................................................. 87 3.1.3.4. Le Livre de Leonor Fini, une « nouvelle sorte » d’autofiction? ......................... 90 3.2. Miroir des chats (1977) ................................................................................................... 94 3.2.1. Le livre en surface ..................................................................................................... 94 3.2.1.1. Présentation matérielle et péritexte ..................................................................... 94 3.2.1.2. Quel chat pour Miroir des chats? : le chat « immédiat » et le chat « complètement transformé » ........................................................................................ 103 3.2.1.3. La jaquette et l’image paratextuelle .................................................................. 104 3.2.1.4. Retour sur le titre du livre : de l’autre côté du miroir ....................................... 106 3.2.2. Plan intratextuel ....................................................................................................... 107 3.2.2.1. Le miroir d’Alice et des surréalistes ................................................................. 107 3.2.2.2. Le masque comme substitut du pictural ........................................................... 109 3.2.2.3. Intermédialité à l’œuvre .................................................................................... 114 a. Des mots qui reflètent, des images qui masquent .................................................. 114 b. Au pays des mots imagés ....................................................................................... 116 c. Des mots qui métamorphosent l’image .................................................................. 119 d. Les images produites par la main humaine ............................................................ 122 3.2.3. Plan intertextuel ....................................................................................................... 124 3.2.3.1. Intertexte pictural .............................................................................................. 124 iv 3.2.3.2. Intertexte littéraire : la voix littéraire, la sienne, celle des autres ..................... 127 a. Des noms et des titres empruntés ........................................................................... 128 b. Des références littérales ......................................................................................... 132 c. Des références à ses propres textes ........................................................................ 137 3.3. Chats d’atelier (1988) .................................................................................................... 138 3.3.1. Le livre en surface : le paratexte éditorial ............................................................... 138 3.3.1.1. Le péritexte et l’épitexte ..................................................................................
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