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Études Écossaises, 15 | 2012, « Ré-Écrire L’Écosse : Littérature Et Cinéma » [En Ligne], Mis En Ligne Le 15 Avril 2013, Consulté Le 22 Septembre 2020

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Études Écossaises, 15 | 2012, « Ré-Écrire L’Écosse : Littérature Et Cinéma » [En Ligne], Mis En Ligne Le 15 Avril 2013, Consulté Le 22 Septembre 2020 Études écossaises 15 | 2012 Ré-écrire l’Écosse : littérature et cinéma Rewriting Scotland: Literature and Cinema David Leishman (dir.) Édition électronique URL : http://journals.openedition.org/etudesecossaises/520 DOI : 10.4000/etudesecossaises.520 ISSN : 1969-6337 Éditeur UGA Éditions/Université Grenoble Alpes Édition imprimée Date de publication : 15 avril 2012 ISBN : 978-2-84310-223-3 ISSN : 1240-1439 Référence électronique David Leishman (dir.), Études écossaises, 15 | 2012, « Ré-écrire l’Écosse : littérature et cinéma » [En ligne], mis en ligne le 15 avril 2013, consulté le 22 septembre 2020. URL : http:// journals.openedition.org/etudesecossaises/520 ; DOI : https://doi.org/10.4000/etudesecossaises.520 Ce document a été généré automatiquement le 22 septembre 2020. © Études écossaises 1 Cette édition d'Etudes écossaises souligne l'importance et l’omniprésence du phénomène de la réécriture en inscrivant la revue dans le cadre des recherches menées par le Centre d’études sur les modes de la représentation anglophone (CEMRA). Une nouvelle orientation du CEMRA adopte effectivement comme projet fédérateur l’étude des questions liées au thème de la canonicité et des phénomènes de réécriture qui en découlent. Dans ce numéro, les articles portant sur la littérature et le cinéma écossais cherchent à rendre compte du caractère mouvant du canon dans le temps, ce qui permet de souligner comment le texte canonique s’efface ou se voit dépassé au fil des époques ou, au contraire, s’affirme, se consolide ou se mue par le biais de réseaux intertextuels qui redynamisent le texte initial. Pour clore la revue de manière à pouvoir rendre compte de la diversité des recherches en cours en matière d’études écossaises, nous publions quelques articles suite aux communications présentées lors des congrès annuels de la SAES de 2010 à Lille et de 2011 (Paris 3, Paris 7). Études écossaises, 15 | 2012 2 SOMMAIRE Avant-propos David Leishman Ré-écrire l’Écosse : littérature et cinéma “To exult and sing out” Stevenson’s Song and the Song of a Divergent Scotland: Ronald Frame’s The Lantern Bearers Benjamine Toussaint On Walking in Burns’s “Great Shadow”: Keats’s Scottish Heritage Caroline Bertonèche Urban Scotland in Hugh MacDiarmid’s Glasgow Poems Béatrice Duchateau Continuing the Renaissance: Little Magazines and a Late Phase of Scottish Modernism in the 1940s Margery Palmer McCulloch Mary Queen of Scots as Feminine and National Icon: Depictions in Film and Fiction Ingibjörg Ágústsdóttir SAES À l’horizon d’Aros, une lecture des coordonnées de My Lady of Aros de John Brandane Jean Berton Jacques VI, dernier éclat culturel autochtone de la Cour d’Écosse Jacques Tranier L’image des locuteurs écossais au siècle des Lumières : les points de vue de Johnson, Boswell et des orthoépistes Rita Ranson Financing the Cost of an Eighteenth-Century Scottish Estate Clarisse Godard Desmarest John Smibert, un peintre écossais dans les colonies britanniques d’Amérique du Nord Marion Amblard New Lanark ou les origines écossaises d’un village industriel « modèle » Ophélie Siméon Études écossaises, 15 | 2012 3 Avant-propos David Leishman 1 Ce numéro de la revue Études écossaises traite de la thématique de la ré-écriture. Bien entendu, cette activité est bien connue de tous les universitaires dans la pratique de leur propre production scientifique, au gré des révisions successives que l’on s’impose pour peaufiner son expression ou améliorer la formulation d’une idée ou encore suite à de nouvelles lectures qui bouleversent la première version d’un texte trop vite dépassé. Mais nous pensons surtout aux multiples modifications, clarifications, réductions, précisions, additions qu’exige un comité de lecture actif et attentionné comme le nôtre tel que nous avons souhaité le mettre en place et le consolider au fil des ans. Nous saluons en passant les efforts de nos contributeurs scotticistes qui s’accommodent de bonne grâce au travail permanent de réécriture scientifique que la revue leur impose, contrainte indispensable à la recherche universitaire mais qui représente une activité toujours chronophage et parfois frustrante, a fortiori lorsqu’un article, malgré ses qualités et en dépit des efforts consentis pour le remanier, n’est pas retenu lors de l’expertise. 2 Cependant, bien que la réécriture soit, pour ainsi dire, au cœur de tous les numéros de la revue, elle reste souvent un processus invisible. Aujourd’hui nous souhaitons au contraire souligner l’importance et l’omniprésence de ce phénomène en inscrivant la revue, une fois de plus, dans le cadre des recherches menées par le Centre d’études sur les modes de la représentation anglophone (CEMRA). Une nouvelle orientation du CEMRA adopte effectivement comme projet fédérateur l’étude des questions liées au thème de la canonicité et des phénomènes de réécriture qui en découlent. Nous avons initialement prévu un seul numéro sur cette question, mais afin de reconnaître l’étendue du phénomène et afin de pouvoir proposer un choix d’articles plus cohérent, nous avons finalement choisi de présenter uniquement dans ce numéro les contributions ayant trait à la réécriture dans les champs littéraire et cinématographique. Réécriture oblige, l’appel à communications a été retravaillé et republié afin de solliciter une nouvelle série de contributions sur une thématique amendée. Ainsi, pour compléter ce numéro, un deuxième volume est prévu pour l’année prochaine associant les domaines historique et politique à nos interrogations sur les phénomènes de la réécriture et du canon. Études écossaises, 15 | 2012 4 3 Les deux thématiques vont de pair, tout naturellement, pour rendre compte du caractère mouvant du canon dans le temps, ce qui permet de souligner comment le texte canonique s’efface ou se voit dépassé au fil des époques ou, au contraire, s’affirme, se consolide ou se mue par le biais de réseaux intertextuels qui redynamisent le texte initial. C’est en effet l’interrogation centrale des deux premiers articles du présent numéro. Dans le premier, Benjamine Toussaint analyse les connexions et les interférences entre un texte de Robert Louis Stevenson et son écho dans la fiction de Ronald Frame. Cette étude de Frame, auteur en marge des conventions et des normes de la fiction écossaise contemporaine, est également l’occasion de revenir sur la notion de canonicité dans la culture écossaise de nos jours. L’article de Caroline Bertonèche se concentre également sur la question de la figure canonique vue comme source d’inspiration ou comme modèle d’aspiration, cette fois-ci dans la tradition romantique. Elle analyse notamment les filiations entre Keats et Robert Burns afin de souligner l’importance du poète écossais et de son œuvre dans la vie poétique de son successeur. La problématique initialement proposée par Benjamine Toussaint d’une œuvre en marge du canon qui nous oblige à revenir sur les interprétations communément admises est ensuite reprise dans l’article de Béatrice Duchateau. Dans son étude d’un poème peu connu de MacDiarmid, « Glasgow 1938 », ce sont les préoccupations résolument urbaines d’un MacDiarmid qui cherche alors à réécrire la deuxième ville de l’Empire et qui nous conduisent à réévaluer ce poète canonique souvent associé à la ruralité de ses origines. Margery Palmer McCulloch part également de la réputation de MacDiarmid et sonde aussi les oublis et les omissions du canon moderniste. Son étude démontre comment les années 1940 et 1950, parfois assimilées à une période peu propice au renouveau de la culture écossaise, perpétuaient au contraire un projet d’expérimentation formelle en écriture dans une série de revues littéraires indépendantes dont l’impact dépassait largement leur tirage limité. C’est une étude filmique présentée par Ágústsdóttir Ingibjörg qui permet finalement de terminer cette partie thématique avec la question des réécritures fictionnelles successives d’un personnage canonique de l’histoire écossaise, Marie Stuart. En annexe de la question de la référentialité historique, forcément plus ou moins respectée étant donné la multiplication de représentations divergentes, il s’agit notamment de souligner certaines constances à travers les manifestations fictionnelles de Marie Stuart, permettant ainsi d’identifier certains composants récurrents de l’identité écossaise : l’identité sexuelle, l’Angleterre, le protestantisme. Ainsi, l’article débouche sur une réflexion concernant la réécriture, sans cesse renouvelée, de l’Écosse, même dans ces éléments les plus reconnaissables. 4 Pour clore la revue de manière à pouvoir rendre compte de la diversité des recherches en cours en matière d’études écossaises, nous avons publié, comme à l’accoutumée, quelques articles suite aux communications présentées lors des congrès annuels de la SAES de 2010 à Lille et de 2011 (Paris 3, Paris 7). En proposant encore une fois avec ce numéro une double contribution d’articles des ateliers écossais, nous cherchons à abréger l’attente entre la présentation de la communication et la publication d’un article approfondi. Nous espérons ainsi rendre mieux service à la recherche en études écossaises en permettant et aux auteurs et aux lecteurs de profiter de la distribution prompte des meilleurs articles issus des congrès récents. Études écossaises, 15 | 2012 5 AUTEUR DAVID LEISHMAN Université Grenoble Alpes Études écossaises, 15 | 2012 6 Ré-écrire l’Écosse : littérature et cinéma Études écossaises, 15 | 2012 7 “To exult and sing out” Stevenson’s Song and the Song of a Divergent Scotland: Ronald Frame’s The Lantern Bearers The Lantern Bearers de Ronald Frame : variations sur l’essai de Robert Louis Stevenson et sur le thème de l’Écosse contemporaine Benjamine Toussaint 1 The Lantern Bearers is the title both of an essay by Robert Louis Stevenson (1888) and a novel penned more than a century later by Ronald Frame (1999), another Scottish writer. There are differences between the two texts in terms of length or literary genre but they bear striking resemblances in their common concerns with art and memory. Stevenson’s essay begins with an autobiographical account of young boys’ activities on the east coast of Scotland before turning into a meditation on literature, and a redefinition of “true realism”.
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