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Etude De L'espace Dans L'oeuvre Romanesque De Mohammed

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Etude De L'espace Dans L'oeuvre Romanesque De Mohammed Etude de l’espace dans l’oeuvre romanesque de Mohammed DIB Karim Nait Ouslimane To cite this version: Karim Nait Ouslimane. Etude de l’espace dans l’oeuvre romanesque de Mohammed DIB. Littératures. Université Paris-Nord - Paris XIII, 2019. Français. NNT : 2019PA131077. tel-03229133 HAL Id: tel-03229133 https://tel.archives-ouvertes.fr/tel-03229133 Submitted on 18 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS 13 ÉCOLE DOCTORALE ÉRASME ÉTUDE DE L’ESPACE DANS L’ŒUVRE ROMANESQUE DE MOHAMMED DIB THÈSE PRÉSENTÉE EN VUE DE L’OBTENTION DU DIPLÔME DE DOCTEUR (DNR) EN LITTÉRATURE GÉNÉRALE ET COMPARÉE PAR KARIM NAIT OUSLIMANE SOUS LA DIRECTION DU PROFESSEUR MADAME JULIETTE VION-DURY DÉCEMBRE 2019 À ma tendre mère. 2 REMERCIEMENTS Je remercie ma directrice de recherche Juliette Vion-Dury. Sans son soutien, ses conseils judicieux et son accompagnement ce travail n’aurait jamais pu voir le jour. Je remercie également mon cher ami Arthur Franco qui a su me redonner confiance à un moment où le doute allait avoir raison de moi. Je remercie aussi très chaleureusement les membres de la petite famille du secrétariat scientifique du GIS « Jeu et Sociétés » : Élisabeth Belmas, Lichao Zhu et Boris Noyet. 3 INTRODUCTION langage souverain incompatible secret noyé dans l'écorchure universelle que ma vie s'y perde y vive sans justification qu'une muraille de ténèbres se referme sur elle et sourde muette nul médiateur ne puisse la faire entendre parole qui creuse un espace vide. Mohammed Dib, « Les pouvoirs », 1, Formulaires, p.75. Mohammed Dib est sans doute un des auteurs les plus connus et respectés de la littérature algérienne francophone. Cette renommée ne s’explique pas seulement par la profusion de l’œuvre mais aussi par l’exigence de l’écriture et sa profondeur historique et poétique. Depuis les romans de la trilogie Algérie qui ont fait connaître l’auteur au grand public, Dib a élaboré une œuvre vaste et complexe qui a touché plusieurs genres littéraires. De sorte que Dib a expérimenté toutes sortes de styles d’écriture, du réalisme au récit fantastique voire au surréalisme jusqu’à l’écriture fragmentaire de ses derniers 4 textes. L’œuvre de Dib est riche et variée. En effet, l’auteur a multiplié les genres en publiant aussi des nouvelles : Au café1 , Le Talisman 2 , La Nuit sauvage3 ; des contes pour enfants comme Baba Fekrane4 ou encore L'Histoire du chat qui boude5 . Dib a également publié plusieurs recueils de poésie dont Ombre gardienne6, Formulaires 7, Omneros 8, Feu, beau feu 9 , O vive 10 ainsi qu’un roman en vers L.A. Trip11 . Sans compter les textes fragmentaires de Comme un bruit d’abeilles12 , Simorgh 13 et Laëzza 14, publié à titre posthume. 1 Paris, Seuil, 1956. 2 Paris, Seuil, 1966. 3 Paris, Albin Michel, 1995. 4 Paris, La Farandole, 1959. 5 Paris, La Farandole, 1974. 6 Paris, Gallimard, 1961. 7 Paris, Seuil, 1970. 8 Paris, Seuil, 1975. 9 Paris, Seuil, 1979. 10Paris, Sindbad, 1987. 11Paris, La Différence, 2003. 12Paris, Albin Michel, 2001. 13Paris, Albin Michel, 2003. 14Paris, Albin Michel, 2006. 5 La richesse aussi bien quantitative que qualitative de l’œuvre dibienne confère à son auteur une place particulière dans l’histoire littéraire de l’Algérie. L’œuvre de Mohammed Dib est en quelque sorte dépositaire d’une parcelle de la mémoire collective algérienne. Ses premiers textes ont accompagné la gestation de la guerre d’indépendance et la violence qui a marqué cette période de violence. Les écrits dibiens après l’indépendance ont porté les questionnements de tout un peuple sur le devenir d’une révolution qui n’avait pas tenu toutes ses promesses. Puis, durant les années quatre-vingt-dix, l’auteur vu son pays s’enliser dans une nouvelle vague de violence dont les nouvelles de La Nuit sauvage15 tirent ses interrogations les plus profondes sur l’origine de la violence et le prix du sang. Tout cela, sans manquer un instant à sa vocation, ou son devoir d’auteur, qui lui ont toujours permis d’échapper aux lieux commun et donné de s’astreindre dans tous ses textes à une recherche et une rigueur poétique de la plus haute exigence. Par son historicité donc ou par sa force poétique, l’œuvre de Mohammed Dib est intimement liée au paysage algérien, paysage dans lequel 15Mohammed Dib, Paris, Albin Michel, 1995. 6 l’auteur a évolué et sur lequel son œuvre a été écrite. Espace géographique, espace humain, espace de l’œuvre dans lesquels évoluent les personnages et enfin espace de la langue française sur laquelle le texte s’élabore pour offrir un espace de vie à un auteur acculé par l’histoire impitoyable d’une Algérie avec laquelle il débat et dans laquelle il se débat, au vu et au su des lecteurs. La problématique de l’espace de l’espace revêt chez Dib une importance vitale. Vitale pour une œuvre qui se fait dans l’espace nouveau de l’écriture francophone au Maghreb ; vitale pour l’écrivain condamné à chercher par l’écriture un espace de vie créative qui ne soit pas qu’ombre, pierre et mémoire inerte. La question de la représentation de l’espace sera posée dans le corpus de plusieurs textes de Mohammed Dib : La Grand Maison16 , L’Incendie 17 , Le Métier à tisser18 , Qui se souvient de la mer19 , Cours sur la rive sauvage20 , La 16 Le Seuil, Paris, 1952. 17 Le Seuil, Paris, 1954. 18 Le Seuil, Paris, 1957. 19 Le Seuil, Paris, 1962. 20 Le Seuil, Paris, 1964. 7 Danse du roi21 , Dieu en Barbarie 22 , Maître de chasse 23 , Habel 24 , Les terrasses d’Orsol25 , Le Sommeil d’Ève 26 , Neiges de marbre 27 , Le Désert sans détour 28 , Comme un bruit d’abeilles29 , Simorgh 30 , Laëzza 31 . Ces textes, choisi en ce qu’ils sont en prise directe avec l’histoire de l’Algérie, sont aussi bien l’expression d’une recherche poétique dans laquelle l’espace occupe une place centrale. Aussi est-il légitime de s’interroger sur la spatialité de l’écriture de Dib. Quel est le rapport entre espace et poétique dans l’œuvre romanesque de Mohammed Dib ? Comment l’espace se construit-il 21 Le Seuil, Paris, 1968. 22 Le Seuil, Paris, 1970. 23 Le Seuil, Paris, 1973. 24 Le Seuil, Paris, 1977. 25 Sindbad, Paris, 1985. 26 Sindbad, Paris, 1989. 27 Sindbad, Paris, 1990. 28 Sindbad, Paris, 1992. 29 Mohammed Dib (2001), op. cit. 30 Mohammed Dib (2003), op. cit. 31 Mohammed Dib (2006), op. cit. 8 dans les romans de Mohammed Dib en tant que lieu de référence et de représentation ? D’un point de vue strictement poétique, la première trilogie de Dib serait peut-être moins riche et moins originale à étudier que les œuvres suivantes dans lesquelles, libéré des impératifs de la lutte politique, l’auteur s’est pleinement adonné à une recherche littéraire des plus exigeantes sous le signe de la francophonie comme espace de création aussi bien qu’espace de vie. Par conséquent, cette étude, qui s’inscrit dans le domaine de la littérature francophone et s’appuie sur l’approche philosophique de Gilles Deleuze et Félix Guattari32 , débutera sur un corpus plus tardif, avec les œuvres publiées après l’indépendance de l’Algérie pour y étudier l’espace dans ses rapports avec la poétique de l’auteur. Dans une seconde partie, la trilogie Algérie sera analysée sous l’angle des relations entre espace et genre. 32Paris, Les Éditions de Minuit, 1975. 9 1. Éléments biographiques et bibliographiques Mohamed Dib est né le 21 juillet 1920 à Tlemcen, dans l’ouest algérien. Il est le fils d’un artisan modeste qui mourut en 1931. Il fait des études en français du primaire au secondaire dans sa ville natale d’abord, puis à Oujda, au Maroc. De retour à Tlemcen en 1945, il est dessinateur de maquettes de tapis jusqu'en 1947. Il publie en 1946 un premier poème dans la revue Les Lettres, publiée à Genève. En 1948, il fait la connaissance d'Albert Camus et de Jean Sénac aux rencontres de Sidi Madani organisées par les Mouvements de Jeunesse et d'Éducation populaire à Blida près d’Alger. Il est ensuite syndicaliste agricole et effectue un premier voyage en France. De 1950 à 1952, Mohammed Dib est rédacteur au journal progressiste Alger républicain. Après avoir quitté en 1952 l’Alger républicain, il séjourne à nouveau en France et publie aux éditions du Seuil La Grande Maison, premier volet de sa trilogie Algérie. En 1959, expulsé par l’administration coloniale, Mohammed Dib s’installe en France, et malgré plusieurs tentatives après l’indépendance, il ne parvient pas à se réinstaller en Algérie mon exil est celui d’un travailleur émigré. Après l’indépendance, je n’ai pas trouvé ma place dans mon pays, malgré les promesses et les démarches. J’avais une famille à charge, il fallait bien qu’elle vive […]. Aux premières années de l’indépendance, en 1964 et en 1965, j’avais 10 fait plusieurs voyages et à chaque fois, on me disait qu’« on allait étudier la question » tout en me demandant de retourner chez moi et d’attendre.
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