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Le Lecteur Virtuel Dans L'œuvre Romanesque De Rachid Boudjedra

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Le Lecteur Virtuel Dans L'œuvre Romanesque De Rachid Boudjedra UNIVERSITÉ MONTPELLIER III – PAUL VALÉRY Arts et Lettres, Langues et Sciences Humaines et Sociales U.F.R. I : Lettres, Arts, Philosophie, Linguistique, Psychanalyse DOCTORAT DE L’UNIVERSITÉ PAUL VALÉRY – MONTPELLIER III en littérature comparée THÈSE présentée et soutenue publiquement par LOTODÉ Valérie Le lecteur virtuel dans l’œuvre romanesque de Rachid Boudjedra Sous la direction de Monsieur Guy Dugas MEMBRES DU JURY : Mme Christiane Chaulet Achour, Professeur à l’Université de Cergy-Pontoise M. Charles Bonn, Professeur à l’Université de Lyon II M. Guy Dugas, Professeur à l’Université de Montpellier III M. Paul Siblot, Professeur à l’Université de Montpellier III Avril 2005 1 À Jughurta 2 Remerciements Aux membres du jury. Qu’ils soient remerciés de nous faire l’honneur d’accepter de juger ce travail. Je voudrais également exprimer ma très vive reconnaissance à ceux qui m’ont aidée et soutenue dans l’élaboration de cette thèse. Au professeur Guy Dugas, directeur de thèse, j’adresse d’abord mes remerciements les plus sincères pour ses conseils avisés, son enthousiasme et la confiance qu’il m’a accordée tout au long de ce parcours. Qu’il trouve ici la marque de mon infini respect et de ma gratitude. Au professeur Antoine Compagnon, je voudrais exprimer ma reconnaissance pour sa disponibilité et sa lecture précieuse au cours de mon travail. Au Centre d’Études du XXe siècle de l’université Paul Valéry et au Centre International d’Études Francophones de la Sorbonne pour leur aide et leur soutien. L’intérêt que ces professeurs ont manifesté à mes recherches m’honore. À Jughurta Aït Hammou qui m’a constamment épaulée lors de mes recherches et m’a apporté un point de vue éclairé sur la culture algérienne. Qu’il voie en cet ouvrage le témoignage de ma profonde affection. À mes parents pour leur indéfectible soutien et la pertinence de leurs remarques. À Youenn Le Prat, Aude Daniel, Florence Le Bloa et Onenn Bozec qui ont eu la bonté de porter un regard expert sur mes investigations et Warda Bouchène qui m’a encouragée à entreprendre cette recherche, je dis ici mon amitié. À mes amis du CIEF. J’exprime notamment ma gratitude à Tania Manca, Véronique Corinus et Frédéric Giguet pour nos discussions stimulantes. L’auteur 3 SOMMAIRE INTRODUCTION GÉNÉRALE.......................................................................................................................... 6 PRÉAMBULE THÉORIQUE............................................................................................................................ 16 PREMIÈRE PARTIE : INTERACTION TEXTE/LECTEUR....................................................................... 26 CHAPITRE I : INSCRIPTION TEXTUELLE DU LECTEUR........................................................................................... 29 A. Le narrataire intradiégétique ou une communication à double niveau .................................................... 30 B. Lieux d’inscription du narrataire.............................................................................................................. 39 CHAPITRE II : RENCONTRE ENTRE L’HORIZON D’ATTENTE DE L’ŒUVRE ET CELLE DU LECTEUR......................... 55 A. Espaces de lecture familiers...................................................................................................................... 59 B. Ruptures avec certaines normes du romanesque traditionnel................................................................... 67 DEUXIÈME PARTIE : LE RÔLE DU LECTEUR ......................................................................................... 80 CHAPITRE I : LES COMPÉTENCES DU LECTEUR.................................................................................................... 83 A. Compétences linguistiques........................................................................................................................ 85 B. Compétences inter et intra-textuelles........................................................................................................ 90 CHAPITRE II : INTENSE COOPÉRATION INTERPRÉTATIVE.................................................................................. 102 A. Interpréter l’architecture romanesque.................................................................................................... 102 B. Décoder l’ironie...................................................................................................................................... 107 C. Images de lecteur interprÉtant ............................................................................................................... 117 CHAPITRE III : UNE LIBERTÉ INTERPRÉTATIVE LIMITÉE ................................................................................... 128 A. Blancs macro et micro-structurels .......................................................................................................... 130 B. Le pluriel du texte ................................................................................................................................... 143 TROISIÈME PARTIE : RÉGIMES DE LECTURE ET IDENTITÉ SEXUELLE DU LECTEUR ......... 158 CHAPITRE I : INTERACTION PERSONNAGE/LECTEUR ......................................................................................... 162 A. Liens de sympathie.................................................................................................................................. 164 B. Phénomène d’identification .................................................................................................................... 170 C. « Stratégie de tentation » ........................................................................................................................ 177 CHAPITRE II : LE LECTEUR FACE AUX STÉRÉOTYPES ........................................................................................ 182 A. Lecture participative............................................................................................................................... 184 B. Distanciation........................................................................................................................................... 194 QUATRIÈME PARTIE : ALGÉRIANITÉ DU LECTEUR ......................................................................... 213 CHAPITRE I : PROBLÉMATIQUE LINGUISTIQUE ................................................................................................. 215 A. Bilinguisme et Écrit................................................................................................................................. 215 B. Leiliyat Imraatin Arik et La Pluie : deux horizons d’attente diffÉrents.................................................. 225 CHAPITRE II : STRATÉGIES D’APPEL AU LECTEUR ALGÉRIEN........................................................................... 233 A. Éléments péritextuels et réception virtuelle ............................................................................................ 234 B. Fréquence et fonction de l’arabe ............................................................................................................ 240 1. Transcription de l’arabe en caractères latins ..........................................................................................................241 2. Introduction de la graphie arabe.............................................................................................................................253 C. Épaisseur référentielle............................................................................................................................ 258 1. Fragments de journaux...........................................................................................................................................258 2. « Répertoire » du texte...........................................................................................................................................263 D. Dialogue avec l’Orient ........................................................................................................................... 267 1. Culture arabo-berbère du lecteur............................................................................................................................267 2. Citations d’auteurs arabo-musulmans : jeu de dupes ?...........................................................................................281 3. Dialogue avec les auteurs francophones du Maghreb ............................................................................................293 CINQUIÈME PARTIE : VERS UNE IDENTITÉ CULTURELLE PLURIELLE..................................... 298 CHAPITRE I : CONCEPT D’ALGÉRIANITÉ ........................................................................................................... 301 A. Définition de l’algérianité lectorale........................................................................................................ 302 1. Rapport du lecteur à l’identité arabo-musulmane ..................................................................................................302 2. Rapport du lecteur aux Juifs et aux Européens ......................................................................................................311 B. Rôle de la critique française dans la réception de l’œuvre boudjedrienne............................................. 320 4 1. L’algérianité de l’auteur : une étiquette identitaire ................................................................................................322
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