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Les Voix Multiples D'amelia ROSSELLI

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Les Voix Multiples D'amelia ROSSELLI UNIVERSITÉ PARIS 8 – VINCENNES – SAINT DENIS UNIVERSITÀ DEGLI STUDI DI MILANO École doctorale Pratiques et théories du sens Scienze del patrimonio letterario, artistico e ambientale Thèse de doctorat Francesca Maffioli Discipline: Études de genre et L-FIL-LET/10 Mention: Littérature italienne et Storia della lingua e letteratura italiana Les voix multiples d’Amelia ROSSELLI (1930-1996) : figures et variations d'un sujet poétique en lutte Thèse dirigée par Nadia Setti et Michele Mari Soutenue le 16 janvier 2017 Jury: Nadia SETTI (Directrice de thèse), PR Etudes de genre et littérature comparée, Université Paris 8 Michele MARI (Co-directeur de thèse), PR Littérature italienne, Università degli studi di Milano Laura FORTINI, MC HDR Littérature italienne, Terza università degli studi di Roma Patricia GODI TKATCHOUK (rapporteure), MCF HDR, Littérature américaine, Université Blaise Pascal, Clermont-Ferrand Enzo NEPPI (rapporteur), PR Littérature italienne, Université Grenoble Alpes Emmanuela TANDELLO, PR associé Littérature italienne, Oxford University 1 Centre d’Études féminines et d’Études de genre Université de Paris 8 – Vincennes - Saint-Denis 2 Rue de la Liberté – B 342 93526 Saint-Denis cedex Laboratoire d’Études de Genre et de Sexualité – LEGS UMR 8238 Université de Paris 8 – Vincennes - Saint-Denis 2 Rue de la Liberté – D 226 93526 Saint-Denis cedex Dipartimento di Studi letterari, filosofici, linguistici Università degli Studi di Milano Via Festa del Perdono, 7, 20122 Milano, Italia 2 Remerciements Mes remerciements vont à tant de femmes qui m’ont accompagné dans ce voyage de recherche : à la proximité de Nadia, Denise, Laura, Elisa. Et Bianca / forcée par une absence. Ma gratitude va enfin à la pratique féministe, qui m’a enseigné à me situer en tant que femme dans mes recherches. 3 à Bianca, ma mère 4 Résumé Les voix multiples d’Amelia ROSSELLI (1930-1996) : figures et variations d'un sujet poétique en lutte L'œuvre d’Amelia Rosselli entend se dessiner, au sein de la poésie lyrique italienne, comme expérience de subversion du processus de sublimation et de stylisation du corps féminin. A travers la traduction et l’analyse de poèmes choisis contenus dans les recueil Cantilena (1953), La Libellula (1958) et Variazioni belliche (1964), nous avons conduit une tentative d’exégèse critique des textes. L’analyse des poèmes se poursuit à travers une pratique dialogique avec le texte poétique et avec une subjectivité féminine souvent masquée, à partir d'un positionnement critique à l’intérieur du comparatisme féministe. En partant de l'idée pétrarquiste d'élimination et de suppression du corps des femmes – élimination, dont déjà parlait Pasolini par rapport à la genèse de la poésie italienne et de sa caractérisation du canon lyrique – nous avons démontré comment la tentative d’apaiser la portée potentiellement dangereuse de l’affection amoureuse a donné lieu au déni de la sensualité. Le langage de la douleur transfigurée se traduit dans une poétique du « dispositif sursensuel », un processus semblable à celui que Gilles Deleuze avait repéré dans la personnalité littéraire de Sacher-Masoch. Le processus de subversion qu’on vient d’évoquer est accompagné du bouleversement des rôles traditionnels au sein du canon poétique européen. Ces déconstructions s’appuient sur l’hypothèse que la non-fonctionnalité des organismes désirants (sujet désirant et l’objet désiré) conduirait à un rejet du corps organique et au même temps à la révélation d’une subjectivité excentrique. La révision des modèles littéraires du canon passe également par le réécriture d'un ensemble de figures féminines du répertoire mythique et littéraire au sein de l’antiquité gréco-romaine, lesquelles, prélevées de l’imaginaire patriarcal, sont réinterprétées et à nouveau poétisées au sein d'un Sujet poétique qui cherche à faire parler la voix d’une poète femme. Mots clés Ecriture féminine ; subjectivité féminine ; excentricité ; canon littéraire ; CSO ; masochisme ; figures féminines du mythe ; destin/sorte. 5 Abstract The multiplicitous voices of Amelia Rosselli (1930-1996): figures and variations of the struggles of a poetic subject Amelia Rosselli’s work took shape, within Italian lyric poetry, as an experience of subversion of the process of sublimation and of stylisation of the female body. Through the translation and the analysis of the content of poems chosen from the collections Cantilena (1953), La Libellula (1958) and Variazioni belliche (1964), I conducted a critical exegesis of the texts. I performed an analysis according to suggestions of a dialogical practice with the poetical text and with a female subjectivity often hidden, anchored to my critical investment inside feminist comparatism. From petrarchist idea of deletion and “suppression” of women’s body – deletion, of which Pasolini talked already in relation to the genesis of Italian poetry and its characterisation of the lyrical canon – I analysed how the attempt to ease the impact potentially dangerous of love affection has caused the denial of sensuality. The language of camouflaged sorrow is then established as a deliberated choice included in some poetics where it is not the statement that reveals, but the poetical word, which in its cryptic canonical measure, is able to make resonate beyond declarations. We can observe the deployment of a “sursensual device”, similar process to what Gilles Deleuze perceived in Sacher-Masoch's literary personality. The process of subversion does not seem a reconstitution of identity roles, but rather a deconstruction of the traditional model. The starting point for the analysis of those deconstructions is based on the hypothesis that the non-functionality of the desiring organisms (desiring subject and desired object) will lead to a reject of the organic and at the same time to a revelation of an eccentric subjectivity. The revision of the literary model of the canon lies in the hypothesis that a set of female figures of the mythical and literary repertoire in Greco-Roman antiquity are placed in the imaginary practice of Amelia Rosselli's poetical writing, with a view to incorporate the nature of the characters born and conceived inside and by the patriarchal imaginary and to form the body of a subject that aims at making them speak through the voice of a female poet. Keywords Women's writing; female subjectivity; eccentricity; literary canon; CSO; masochism; female figures of myth; Fate. 6 TABLE DES MATIÈRES Introduction générale ……………………………………………………….………..p. 11 Première partie « Pratiques / d’écriture / excentrique » 1.1 origines ……………………...………………………………………..………..…..p. 29 1.1.1 Ecriture – tissage : une histoire de sororité ………………………………….…...p. 31 1.1.2 Philomène et Lucrèce : deux voix au-délà du silence forcé ………………….…..p. 34 1.1.3 Amelia Rosselli et l’écriture féminine ..………………………………………….p. 36 1.2 Une excentricité glaciale ………………………………………………………….p. 46 1.2.1 Le corps de la femme ou la transfiguration des passions ………..…………....….p. 46 1.2.2 Du Corps Sans Organes au mysticisme d’amour ……………….………….…….p. 53 1.2.3 Une sentimentalité glacée ……………………………..…………………………p. 57 1.2.4 La mère orale et l’instinct de mort ……...…………………………… ……….…p. 62 1.2.5 Un(e) sujet excentrique ………………………………………………………..…p. 67 1.2.5.1 Le cas de Cantilena ……………………….……………………...………p. 71 1.2.5.2 Le masochisme du prédateur : « la folle Aragne » ………………...…..…p. 77 1.2.5.3 La Libellula : l’epopée d’un chant anticanonique ………………………..p. 86 1.3 Pratiques de réecriture ………………………………………………………….p. 94 1.3.1 Que c’est bizarre... …………………………………..….………………………..p. 94 7 1.3.2 Traduction et auto-traduction ………………………….……………………....…p. 99 1.3.3 Le choix du babélisme ……………………………..……………………...……p. 105 1.3.4 Quand Rosselli traduit Dickinson… ………………………………………........p. 109 1.3.5 Traduction comme fragmentation ……………………….…………………..….p. 116 Deuxième partie « Figures de l’imaginaire rossellien : mythes et contre-mythes » 2.1 Une question d’imaginaire …………………………………………...…………p. 121 2.1.1 L’imaginaire symbolique et les Figures ………………………………..…… …p. 121 2.1.2 Mécanique du « destin descendant » et adolescence interminable ……...…..… p. 127 2.2 Cassandre ou la prophétie du deuil ………………………………………….…p. 132 2.2.1 Une voix entre la parole et le silence : Variazioni belliche ou les variations sur une guerre à soi-même .……………………………………………….………………p. 132 La médaille au double destin …………………………………………………p. 145 Le retour au passé refoulé ……………………………………………….……p. 146 De la frustration à la solitude …………………………………………………p. 149 Un monde veuf ……………….……………………………………………….p. 154 La visionnarité …………….…………………………………………………..p. 156 Une étreinte avec la mort ………….…………………………………………..p. 157 ... comme une “perturbation” mentale ….………………………………….….p. 159 Vers (à) la mort ……...……………….…………………………………..……p. 164 Comme dans une éclipse ……………………………….………………….….p. 166 Poème de la catastrophe (quant au futur) ... ……………………………….….p. 168 8 (La fin) du jour ………………………….………………………………….…p. 170 2.3 « Vous deviez la faire, la dentelle de la gentillesse ! » ……………………….…p.172 2.3.1 Les trois sœurs ………………………………………………………………….p. 172 2.3.2 Antigone et l’autorité ………………………………………….…………….. p. 176 2.3.3 Le rituel de la Cantilena (1953), le petit poème de la perte et du manque …...p. 185 Troisième partie « La Libellula : un insecte contre l’autorité » 3.1 La Libellula. Panegyrique de la liberté …………………………………………p. 198 3.1.1 Arachné et Athéna : une lutte jusqu’au dernier fil ………………………..…….p. 198 3.1.2 Filles du père ? ………………………………………………………………….p. 199 3.1.3 La naissance d’une déesse guerrière ……………………………………………p.
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