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Une Étude De L'oralittérature Dans Les Poèmes De Jean Binta Breeze

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Une Étude De L'oralittérature Dans Les Poèmes De Jean Binta Breeze UNIVERSITÉ DE STRASBOURG ÉCOLE DOCTORALE 99 « Humanités » DUB POETRY Une étude de l’oralittérature dans les poèmes de Jean Binta Breeze, Linton Kwesi Johnson et Benjamin Zephaniah Tome 1 : Thèse David BOUSQUET Thèse de doctorat Etudes anglophones sous la direction de M. Christian GUTLEBEN vendredi 12 novembre 2010 Jury M. Christian GUTLEBEN (Université de Nice Sophia Antipolis) Mme Claire OMHOVERE (Université Paul Valéry – Montpellier 3) Mme Catherine PESSO-MIQUEL (Université Lumière – Lyon 2) Mme Charlotte STURGESS (Université de Strasbourg) 1 Errata Tome I p.14, note 2 : lire « observateurs » au lieu de « observatuers » p. 31 : lire « géographiques » au lieu de « géographies » p. 47 : lire « écrite/occidentale/savante » au lieu de « écrite/occidentale savante » p.61 : lire « n’est pas vue » au lieu de « n’est pas vue tant comme » p. 72 : lire « leur fonction » au lieu de « sa fonction » p. 73 : lire « ses caractéristiques » au lieu de « ces caractéristiques » p. 78 : lire « nécessaire de s’arrêter » au lieu de « nécessaire se s’arrêter » et « Peter Habekost » au lieu de « Christian Habekost » p. 79 : lire « (Habekost, 1986 : 13) » au lieu de « Habekost, 13 » p. 79, note 3 : lire « Peter Habekost » au lieu de « Christian Habekost » p. 83 : lire « Toute la discussion » au lieu de « Toute sa discussion » p. 95 : lire « critical standards can be applied. » au lieu de « critical standards can be applied.. » p. 97, note 3 : « lire « have two volumes » au lieu de « have tow volumes » p. 102 : lire « sont marquées » au lieu de « sont marqués » p. 113, note 6 : lire « (« call/response pattern ») » au lieu de « (« call/response patter ») » p. 120 : lire « à le soumettre » au lieu de « à la soumettre » p. 129 : lire « l’étude de cette nouvelle notion » au lieu de « l’étude de la cette nouvelle notion » p. 162 : lire « la deuxième moitié des années quatre-vingt » au lieu de « la deuxième des années quatre-vingt » p. 163 : lire « aux dancehalls jamaïcains » au lieu de « au dancehalls jamaïcains » et « événements » au lieu de « évènements » p. 164, note 11 : lire « qui mêle » au lieu de « qui mêlent » p. 170 : lire « des lectures » au lieu de « de lectures » p. 171 : lire « événements » au lieu de « évènements » et « événement » au lieu de « évènement » p. 176 : lire « que la manière » au lieu de « mais la manière » p. 213 : lire « la savante distribution » au lieu de « la savant distribution » p. 219 : lire « ils sont issus » au lieu de « ils ont issu » p. 258 : lire « totalement étrangère » au lieu de « totalement étrangères » p. 264, note 8 : lire « constitue » au lieu de « consitue » et « modernisée » au lieu de « modenrisée » p. 268 : lire « ou la première syllabe » au lieu de « où la première syllabe » et « ne sont marqués » au lieu de « ne sont pas marqués » p. 275 : lire « métrique » au lieu de « métrieu » p. 278 : lire « qui pousse » au lieu de « qui poussent » p. 290 : lire « qui font la qualité » au lieu de « qui fait la qualité » p. 308 : lire « les dub poets » au lieu de « les dud poets » p. 316, note 12 : lire « from the 15th century onward » au lieu de « from the 15the century onward » p. 323 : lire « de ses réalisations » au lieu de « des ses réalisations » p. 328, note 19 : lire « si l’on prend en compte » au lieu de « si l’on compare » p. 337 : lire « des terres natales que nous décidées » au lieu de « des terres natales que nous décidés » Tome II p. 127 : lire « Propa Propaganda » au lieu de « Porpa Propaganda » SOMMAIRE SOMMAIRE…………………………………………………………………………….. 3 REMERCIEMENTS……………………………………………………………………. 7 CONVENTIONS…………………………………………………………………………9 INTRODUCTION………………………………………………………………………. 11 Objet de la recherche……………………………………………………………... 11 Problématique et méthode………………………………………………………... 15 Essentialisme et historicité……………………………………………….. 20 Le souci du local : dub poetry, postcolonialisme et postmodernisme……. 24 Notions et concepts……………………………………………………………….. 26 Etudes littéraires et politique……………………………………………………... 29 Plan……………………………………………………………………………….. 31 CHAPITRE 1 : Dub poetry et musiques populaires jamaïcaines…………................ 35 Dub poetry et industrie musicale jamaïcaine……………………………………... 35 Naissance de la dub poetry : éléments factuels et hypothèses critiques………….. 43 La culture des sound systems dans les poèmes………………………………... 48 Sound systems et poésie en performance………………………………………. 60 Conclusion……………………………………………………………………….. 63 CHAPITRE 2 : Dub poetry et littératures antillaises anglophones………………….. 65 Dub poetry et canon littéraire…………………………………………………….. 65 Réception critique de la dub poetry………………………………………………. 76 Approches essentialistes………………………………………………….. 78 Approches relativistes…………………………………………………….. 86 Conclusion………………………………………………………………………... 97 3 CHAPITRE 3 : Histoire et identité…………………………………………………….. 101 L’héritage de l’esclavage………………………………………………………..... 106 Récits des origines………………………………………………………………... 114 Histoire et identité chez Johnson…………………………………………………. 118 Conclusion : identité et antiphonie……………………………………………….. 127 CHAPITRE 4 : Authenticité et performance poétique……………………………….. 135 Définition conceptuelle de l’authenticité en performance………………………... 135 Authenticité et folklorisation……………………………………………… 135 Authenticité et propriété………………………………………………….. 144 Authenticité et originalité………………………………………………… 152 L’authenticité en performance……………………………………………………. 154 Lectures militantes………………………………………………………... 154 Concerts de masse…………………………………………………………160 Échec des performances…………………………………………………...169 Conclusion………………………………………………………………………... 176 CHAPITRE 5 : Poétique et politique de la performance…………………………….. 183 La performance comme pensée/geste…………………………………………….. 183 Relations de pouvoir, réseaux de résistance……………………………………… 190 ‘Naked’…………………………………………………………………………… 196 L’anarchie de la performance…………………………………………………….. 207 Conclusion………………………………………………………………………... 214 CHAPITRE 6 : Paroles créoles………………………………………………………… 217 La situation linguistique dans les société créoles………………………………… 219 Origine et développement des parlers créoles……………………………. 219 Le continuum créole……………………………………………………… 221 Parole autonome et opacité du langage…………………………………...225 Paroles créoles et littérature……………………………………………... 226 « Rasta talk »……………………………………………………………... 229 4 Exemples………………………………………………………………………….. 232 Subversion et réappropriation du langage……………………………….. 232 L’orthographe créole……………………………………………………... 244 Le continuum écrit/oral……………………………………………………250 Conclusion………………………………………………………………………... 253 CHAPITRE 7 : Le rythme de la dub poetry…………………………………………... 255 Une métrique reggae ? …………………………………………………………… 259 Vers une nouvelle conception du rythme………………………………………… 277 Le rythme chez Meschonnic……………………………………………..... 280 Note sur le rythme en musique…………………………………………… 287 Conclusion………………………………………………………………………... 291 CHAPITRE 8 : Le poème réanimé…………………………………………………….. 293 Texte oral, texte écrit……………………………………………………………... 294 La question de l’auteur…………………………………………………………… 300 Le poète/passeur et le texte oralittéraire………………………………………….. 308 Le poème réanimé………………………………………………………………… 319 Conclusion………………………………………………………………………... 328 CONCLUSION………………………………………………………………………….. 330 BIBLIOGRAPHIE/DISCOGRAPHIE………………………………………………… 339 Sources primaires…………………………………………………………………. 341 Sources secondaires………………………………………………………………. 348 INDEX…………………………………………………………………………………… 359 5 6 REMERCIEMENTS Je tiens d’abord à remercier Christian Gutleben pour le soutien indéfectible qu’il m’apporte depuis le premier jour de cette entreprise. Sans ses encouragements, ses conseils et ses critiques, ce travail n’aurait jamais vu le jour. Je remercie aussi Andrew Eastman, qui dirigea mes premiers travaux de recherche sur la dub poetry et me suggéra de nombreuses pistes critiques qu’il retrouvera dans ce travail. Je tiens à exprimer ma gratitude à Robert Erbsland, qui m’a tant appris de l’anglais et de la littérature. Enfin, je remercie toutes celles et tous ceux qui ont, de près ou de loin, contribué à faire vivre cette recherche et m’ont soutenu dans ce projet. 7 8 CONVENTIONS Les textes des poèmes cités sont regroupés dans l’annexe 1. Certains poèmes sont aussi inclus sous forme d’enregistrements dans l’annexe 2. Les ouvrages critiques cités sont regroupés dans la bibliographie. Nous nous y réfèrerons en citant entre parenthèses le ou les auteurs, la date de publication et le numéro des pages citées. 9 10 INTRODUCTION Objet de la recherche Cette étude est consacrée à un ensemble de publications et surtout de pratiques poétiques auxquelles on se réfère le plus souvent par le terme « dub poetry », que nous emploierons sans guillemets au cours des pages qui suivent. Ces pratiques se rattachent à ce qu’on pourrait appeler la sphère culturelle antillaise anglophone : la plupart provient soit d’artistes jamaïcains, soit d’artistes vivant au Royaume-Uni mais issus de l’immigration jamaïcaine. On observe des pratiques similaires dans d’autres îles anglophones comme Trinidad et Tobago ou la Barbade, ainsi qu’en Guyane britannique par exemple ; avec les migrations des Antillais depuis 1945, on trouve aujourd’hui des dub poets aussi bien à Londres, Manchester ou Birmingham qu’à New York ou Toronto. Ainsi, la dub poetry n’est pas simplement une forme d’expression antillaise, ce qui sous-entendrait un rapport indépassable à un lieu géographique, mais créole, ce qui engage plutôt un rapport spécifique à la culture, quel que soit le lieu où l’on se trouve. Si nous parlons de pratiques poétiques, c’est que ce qui unit ces artistes n’est pas tant le fait
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