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Le Labyrinthe Dans La Fiction Contemporaine D'expression Française Par Haoyu Irene XIA (Sous La Direction De Jonathan F. Krel

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Le Labyrinthe Dans La Fiction Contemporaine D'expression Française Par Haoyu Irene XIA (Sous La Direction De Jonathan F. Krel Le labyrinthe dans la fiction contemporaine d’expression française Par Haoyu Irene XIA (Sous la direction de Jonathan F. Krell) Résumé Le labyrinthe est une image universellement partagée qui attire l’imagination de l’homme depuis l’antiquité. L’une des raisons pour cela est sans doute son ambivalence inhérente. Hermann Kern insiste dans son livre sur les différences entre, en anglais, labyrinth et maze (23). La notion de maze, impliquant l’expérience de la confusion et de l’errance, est très répandue de nos jours. Cependant, cette notion, née sans doute des descriptions de l’errance dans la littérature de l’antiquité et du Moyen Âge, s’est développée beaucoup plus tard que celle de labyrinth. Et la première représentation d’un labyrinthe multicursal, ou maze en anglais, date seulement de 1420 environ (Kern 23). De plus, pour aggraver encore l’ambiguïté, la distinction entre labyrinth et maze n’existe guère en français, le mot labyrinthe pouvant désigner ces deux notions, de sorte qu’on ne peut qu’avancer que le labyrinthe désigne un parcours sinueux, sans pouvoir préciser si un labyrinthe particulier est à une ou plusieurs voies, ni s’il possède ou non un centre. La présente étude examine la représentation du labyrinthe dans cinq fictions d’expression française, en insistant sur l’ambiguïté que ce concept apporte à ces œuvres littéraires : Thésée (André Gide, 1946), L’Emploi du temps (Michel Butor, 1956), Rue des Boutiques Obscures (Patrick Modiano, 1978), L’Enfant de sable (Tahar Ben Jelloun, 1985), et Le Labyrinthe des jours ordinaires (Pierre Rosenstiehl, 2013). Bien que divers dans leurs thèmes et style, les cinq textes étudiés ici possèdent une caractéristique commune, à savoir que la figure du labyrinthe est capitale dans ceux-ci. Certains de ces textes rappellent et réinventent le mythe grec du labyrinthe crétois, comme Thésée, L’Emploi du temps et Le Labyrinthe des jours ordinaires, trois textes lourdement investis dans l’histoire de Thésée, du Minotaure et d’Ariane; d’autres font des allusions moins évidentes à ces mythes, comme Rue des Boutiques Obscures où apparaît un labyrinthe végétal et où est mentionné une seule fois le « fil d’Ariane » (208), ainsi que L’Enfant de sable où le livre est comparé à « un labyrinthe fait à dessein pour confondre les hommes » (153). Mais dans chaque cas, le concept du labyrinthe semble clé pour l’interprétation de ces œuvres. Les deux premiers chapitres portent sur la manifestation de l’ambivalence du labyrinthe dans les cinq œuvres littéraires, avec le premier chapitre qui se concentre sur l’expérience initiatique des protagonistes dans le labyrinthe unicursal, basé sur les ouvrages de Mircea Eliade et de Kern sur les rites de l’initiation, tandis que le deuxième chapitre examine le labyrinthe multicursal comme représentation des villes modernes et des intrigues policières dans ces fictions. Le chapitre 3 examine un des mythèmes les plus connus de la légende crétoise – le fil d’Ariane – dans nos cinq fictions. Or, c’est également l’un des éléments du mythe qui causent sans doute le plus d’ambiguïté. Guide salvateur, le fil d’Ariane peut aussi égarer les protagonistes ainsi que le lecteur, et devenir lui-même labyrinthique dans les fictions contemporaines. Après le parcours physique et la question « où suis-je ? », le chapitre 4 se concentre sur la confusion identitaire des personnages et la question « qui suis-je ? ». Basé sur les théories de C. G. Jung sur les notions telles que l’individuation, l’ombre, l’anima et l’animus, j’examine la recherche d’identité des protagonistes et leur découverte de soi-même comme l’ultime épreuve qu’ils doivent affronter au « centre » du labyrinthe. Le labyrinthe est important dans ces cinq fictions non seulement pour les différents thèmes qu’il suscite et qu’on examine aux quatre premiers chapitres, mais aussi pour sa valeur structurante. Nos cinq auteurs, tout comme beaucoup d’autres de leurs contemporains, jouent eux-mêmes le rôle de Dédale et construisent des labyrinthes avec leur écriture. Le chapitre 5 examine donc la structure des cinq œuvres étudiées, en insistant sur l’écriture labyrinthique ainsi que la lecture labyrinthique qui en est la conséquence naturelle. MOTS-CLÉS: Labyrinthe, Mythe, Thésée, le Minotaure, Dédale, Ariane, Initiation, C. G. Jung, Individuation, Thésée, André Gide, L’Emploi du temps, Michel Butor, Rue des Boutiques Obscures, Patrick Modiano, L’Enfant de sable, Tahar Ben Jelloun, Le Labyrinthe des jours ordinaires, Pierre Rosenstiehl Abstract The labyrinth and the maze are universally shared images of the human imagination. One of the reasons that the labyrinth particularly intrigues the human mind is its inherent ambiguity. Hermann Kern starts his book by insisting on the difference, in English, between labyrinth (unicursal) and maze (multicursal) (Kern 23). The maze, implying the experience of confusion and wandering, is commonly used today. However, the notion of maze seems to have developed much later than that of labyrinth. Derived from the literary tradition in antiquity and the Middle Ages, the earliest depiction of a maze dates only from about 1420 (Kern 23). Further confusing the issue, the French language only has one word for both figures: labyrinthe, meaning either labyrinth or maze according to the context. Thus we can only say that labyrinthe in French refers to a sinuous path, without further specifying whether a particular labyrinthe is unicursal or multicursal, or whether it has a center to be reached. My dissertation focuses on the labyrinthe in five contemporary French and Francophone fictions, emphasizing the ambiguity that this concept brings to these literary works: Thésée (André Gide, 1946), L’Emploi du temps (Michel Butor, 1956), Rue des Boutiques Obscures (Patrick Modiano, 1978), L’Enfant de sable (Tahar Ben Jelloun, 1985), and Le Labyrinthe des jours ordinaires (Pierre Rosenstiehl, 2013). From Morocco (Ben Jelloun) and France (the four others), these authors are important literary figures in contemporary French and Francophone literature. The texts selected for this study, though diverse in their themes and styles, all make use of the labyrinthe, while referring more or less directly, and always with adaptation and reinvention, to the Greek myth of Theseus, Daedalus, the Minotaur, and Ariadne. Most interestingly, the labyrinthe, sometimes unicursal and sometimes multicursal, demonstrates its ambivalence and paradoxes in all these literary works. The first two chapters stress the ambivalence of the labyrinthe, as manifested in its potential to be both unicursal and multicursal. Although the five texts of this study all mention some kind of labyrinthe, physical and/or metaphorical, they do not specify whether these labyrinthes are unicursal or multicursal. As a result, the works demonstrate at the same time characteristics and themes of both labyrinth (initiatory experience) and maze (the experience of wandering and being lost), to a degree that the ambivalence of the labyrinthe also becomes the main characteristic of the fiction. In the first chapter, drawing mainly from Mircea Eliade’s books on initiation rites, I argue that the unicursal labyrinth is a perfect embodiment of initiation rites, and that the adventures of the protagonists in their respective labyrinths can also be considered experiences of initiation. In chapter 2, I examine literary mazes as representations of modern cities, drawing on critical theories of the detective genre, which is important in these texts. Chapter 3 examines a central element in the Cretan legend – Ariadne’s thread – which casts more ambiguity on the figure of the labyrinthe. Her thread leads and shows the way, but it can also mislead the protagonists and the reader and become itself labyrinthine. After the question “where am I?” examined from different perspectives in previous chapters, chapter 4 focuses on the identity crises of the protagonists, or the question “who am I?”. Drawing mainly from C. G. Jung’s theory on individuation, I argue that protagonists who succeed in the process of individuation must “master and assimilate”, rather than eliminate, the real or metaphorical Minotaur they encounter, in the same way that the ego “must master and assimilate the shadow” before it can triumph (Jung 120-21). The figure of labyrinthe is rich not only for its diverse connotations, but also for its structuring power for literary texts. The five authors of this study, like many of their contemporaries, play the role of Daedalus and construct labyrinthes with their texts. Therefore, chapter 5 examines the structure of the five fictions, focusing on the labyrinthine processes of both writing and reading. INDEX WORDS: Labyrinth, Maze, Myth, Theseus, the Minotaur, Daedalus, Ariadne, Initiation, C. G. Jung, Individuation, Thésée, André Gide, L’Emploi du temps, Michel Butor, Rue des Boutiques Obscures, Patrick Modiano, L’Enfant de sable, Tahar Ben Jelloun, Le Labyrinthe des jours ordinaires, Pierre Rosenstiehl Le labyrinthe dans la fiction contemporaine d’expression française By Haoyu Irene XIA BA, Beijing Foreign Studies University, 2009 MA, University of Georgia, 2012 A Dissertation Submitted to the Graduate Faculty of University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2017 © 2017 Haoyu Irene XIA ALL Rights Reserved Le labyrinthe dans la fiction contemporaine d’expression française Par Haoyu Irene XIA Directeur de thèse : Jonathan F. Krell Comité : Catherine M. Jones Timothy Raser Electronic Version Approved: Suzanne Barbour Dean of the Graduate School University of Georgia May 2017 iv Remerciements Cette thèse est le résultat d’un travail de recherche de près de deux ans. En préambule, je tiens à exprimer ma plus profonde reconnaissance à : - Dr. Jonathan Krell, mon directeur de thèse, pour ses conseils précieux et pour le temps qu’il m’a consacré. Sa grande connaissance dans le domaine a joué un rôle important dans la conception de ce travail. - Dr. Catherine Jones et Dr.
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