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Dsire Schyns UvA-DARE (Digital Academic Repository) Une écharde dans la gorge. L’évolution de la mémoire littéraire de la guerre d’Algérie (1954-1962) dans la fiction algérienne francophone (1958-2003) Schyns, D.V.L. Publication date 2007 Document Version Final published version Link to publication Citation for published version (APA): Schyns, D. V. L. (2007). Une écharde dans la gorge. L’évolution de la mémoire littéraire de la guerre d’Algérie (1954-1962) dans la fiction algérienne francophone (1958-2003). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 Une écharde dans la gorge. L’évolution de la mémoire littéraire de la guerre d’Algérie (1954-1962) dans la fiction algérienne francophone (1958-2003) Academisch proefschrift Ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel der Universiteit op vrijdag 12 oktober, te 14:00 uur door Désirée Victorine Léonie Schyns Geboren te Valkenburg-Houthem Promotor: Prof. dr. I.M. van der Poel Overige leden: prof. dr. C. Chaulet-Achour prof. dr. A. Lanasri prof. dr. M. van Buuren prof. dr. F. van Vree prof. dr. M. Rosello dr. M. van MontFrans Faculteit der Geesteswetenschappen 2 Table des matières Remerciements : 8-11 Corpus de textes : 12-13 Introduction : 14-27 Prologue : Une guerre à multiples visages : la mémoire plurielle et l’Histoire non unifiée de la guerre d’Algérie : 28-61 Mémoire et histoire : 28-31 Mémoire et culture : la notion de « Cultural Memory » : 31-34 « Plusieurs guerres superposées » : 34-39 « La gangrène et l’oubli » : 39-48 Le difficile retour du refoulé : le 17 octobre 1961 : 48-52 Est-ce « la fin de l’amnésie » ? : 52-56 La mémoire de Vichy et celle de la guerre d’Algérie : 56-60 Conclusion : 60-61 Première partie : La guerre juste, la « mémoire officielle » et le désenchantement : 64-202 1. Le pont doit sauter : 64-103 Introduction : 64-66 3 Un Algérien francisé dans la tourmente révolutionnaire : 66-75 Intermède : La guerre d’Espagne et la guerre d’Algérie : 76-79 Le raz de marée de la Révolution : 79-91 « Les palpitations d’un nouveau monde » : 91-101 2. La guerre de libération et « la mémoire officielle » en Algérie : 104-151 Introduction : 104-107 « La réalité dépassait les phrases de si loin » : 107-122 Ecrire avec « la main du souvenir et de la mutilation » : 122-133 L’impossibilité du retour à un discours normal : « Mais si tu veux pouvoir vivre, ne te souviens pas » : 133-142 Un mélodrame dans la Casbah d’Alger : 142-147 Conclusion : 147-149 3. Le désenchantement I : 152-179 Entre espoir et désespoir : une œuvre de transition : 152-158 Les anciennes maquisardes marginalisées : 158-171 L’histoire orale au féminin dans une autobiographie : 171-178 4. Le désenchantement II : 180-201 L’homme déchu : 180-186 Le rescapé du passé : 186-191 Le texte crée la mémoire : 191-200 4 Deuxième partie : La torture et la mémoire : 202-302 5. Un « retour de mémoire » : le témoignage non littéraire et la torture : 202-249 Introduction : 202-203 La torture dans les médias : 203-210 Dévoiler la vérité : La narration du témoin : 210-218 La bataille d’Alger à travers Aussaresses et Pontecorvo : 218-224 Ceux qui ont élevé la voix contre la torture pendant la guerre ou au lendemain de la guerre : 224-234 Témoignage d’anciens appelés et d’un tortionnaire : 234-237 La tragédie des harkis : 237-241 Quand le témoin fait son apparition en fiction : 241-246 6. La torture en fiction : 250-302 Introduction : 250-253 L’image de la douleur et « les grands témoins » : 253-258 Explorer les limites du représentable : 258-279 Intermède : Questions morales liées à la représentation de la mémoire traumatisante en fiction : 279-286 « J’étais la lettre et ils étaient les lecteurs » : 286-298 Conclusion : 299-301 5 Troisième partie : Une guerre peut en cacher une autre : la mémoire littéraire de la guerre d’Algérie après 1992 : 303-402 7. Auteurs et personnages assiégés : 303-341 Introduction : 303-305 « La houria enchaînée » : 305-316 « Les racines du mal plongeaient dans un lointain passé » : 316-325 La paramnésie de Rac : 325-330 La mémoire de la guerre d’Algérie en rémanence : 330-337 Conclusion : 337-338 8. Un entrecroisement de mémoires : 342-375 Introduction : 342-343 Une guerre peut en cacher une autre : 343-354 La notion de « Multidirectionial Memory » : 354-359 « Nos âmes ressemblent à ces lieux d’histoire et de mémoire » : 359-373 Conclusion : 373-374 9. Le bourreau au visage humain : 376-402 Introduction : 376-377 Le visage d’autrui : 377-384 Le liseur : 384-390 La guerre du point de vue d’un appelé : 390-395 La notion de « postmemory »: 395-399 6 Le grouillement secret : 399-401 Conclusion : 403-419 Bibliographie : 421-439 Annexes : 440-469 - Liste des sigles : 440 - Repères chronologiques, 1830-2005 : 441-452 - « Tout le monde était piégé, même l’enfance ». Entretien avec Malika Mokeddem sur la guerre d’Algérie et Les hommes qui marchent, Montpellier, août 2005 : 453-460 - Résumé en néerlandais : 461-469 Index : 470-477 7 Remerciements Il m’est agréable de remercier les personnes et institutions qui m’ont guidée et aidée pendant le voyage intense qu’a été la recherche et la rédaction de cette thèse. Je voudrais remercier en tout premier lieu ma directrice de thèse, Ieme van der Poel, pour le soutien enthousiaste qu’elle m’a témoigné dès la première esquisse de mon projet en 2001. Je lui suis infiniment reconnaissante de sa perspicacité, de la générosité de ses conseils et de son intuition scientifique. Ieme van der Poel a vu tout de suite l’intérêt d’étudier l’évolution de la mémoire littéraire de la guerre. Elle a vu les moments charnières de la recherche. De plus, dès 2001 elle m’a conseillé à juste titre d’étudier la mémoire traumatisante en littérature et d’explorer les limites de la représentation. Sur le plan humain, Ieme a toujours gardé son grand sens de l’humour (malgré la gravité du sujet) et elle m’a encouragée pendant les moments difficiles de la rédaction. Rita Godijns, Chef du département des traducteurs et interprètes à la Haute Ecole de de Gand, en Belgique, et Guy Rooryck, coordinateur du groupe de français où je travaille comme enseignant-chercheur depuis 2000, m’ont donné la possibilité de prendre quatre mois de congé dans la phase finale de rédaction de ma thèse. Je les remercie de leur confiance. Le département de traducteurs à Gand a cofinancé mes recherches en réduisant mes heures de cours à partir de 2004, me permettant ainsi de me consacrer à mon projet. Je remercie tout particulièrement ma remplaçante, Katelijne De Vuyst, traductrice littéraire, qui a accepté de reprendre toutes mes tâches du premier octobre 2006 jusqu’au premier février 2007, y compris le pilotage des mémoires. Je suis convaincue que les étudiants ont largement profité de ses connaissances approfondies en matière de traduction. De plus, je lui suis reconnaissante pour ses encouragements et pour m’avoir aidée à rédiger la bibliographie. Je remercie Els 8 Snick, collègue au groupe d’allemand, pour ses encouragements et son amical soutien. Je suis très reconnaissante à Andrea Esmeijer, directrice du Prins Bernhard Fonds à Amsterdam et à Lily Knibbeler, chargée de mission, pour m’avoir permis d’obtenir une bourse de culture du fonds d’Anthonia Bloembergen. Anthonia Bloembergen, ancienne enseignante de français, a fait un legs au Prins Bernhard Fonds pour soutenir financièrement des chercheurs néerlandais en lettres françaises. Cette bourse dont je suis la première d’en avoir bénéficié, m’a permis de prendre quatre mois de congé pour rédiger ma thèse. Grâce à ma directrice de thèse, qui m’a inscrite à ASCA, Amsterdam School in Cultural Analysis, j’ai pu bénéficier de l’apport scientifique et des contacts étendus de cette école doctorale, lieu de rencontres international au centre d’Amsterdam. Grâce à ASCA et son directeur exécutif Eloe Kingma, j’ai pu participer à des colloques internationaux (à Leeds, « Les femmes et la guerre » en 2006) et à l’European Summerschool in Cultural Studies à Copenhague : « Witness. Memory, Representation, and the Media in Question », en 2004. Grâce à cette université d’été, j’ai non seulement rencontré des chercheurs européens qui étudient littérature et témoignage, mais j’ai aussi rédigé ma première communication en anglais sur Entendez-vous dans les montagnes de Maïssa Bey. Je remercie Mieke Bal de ASCA pour m’avoir donné l’occasion de participer à l’un de ses passionnants Theory Seminar « World Memory, Affect and Trauma and Sound » en 2003-2004 à Amsterdam.
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