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Pluralité Des Voix Et Chant De Soliste Dans La Poésie De Margaret Atwood

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Pluralité Des Voix Et Chant De Soliste Dans La Poésie De Margaret Atwood UNIVERSITÉ De NANTES FACULTÉ DES LETTRES ET SCIENCES HUMAINES Pluralité des voix et chant de soliste dans la poésie de Margaret Atwood Thèse de Doctorat École doctorale : Lettres et sciences humaines Discipline : anglais Spécialité : littérature contemporaine Présentée et soutenue publiquement par Christine RETAT EVAIN Le 24 mars 2007, devant le jury ci-dessous Mme C. Omhovere, Maître de Conférences. HDR . Université de Nancy 2 Mme C. Raynaud, professeur . Université de Tours Mme C. Sturgess, professeur . Université de Strasbourg M. B. Sellin, professeur . Université de Nantes Directeur de thèse : M. Bernard Sellin Pour sa confiance, son respect du travail entamé, et pour ses conseils judicieux, je remercie Bernard Sellin grâce à qui cette thèse se trouve enfin achevée ! Je remercie également tous mes interlocuteurs et amis qui m’ont encouragée dans ce parcours difficile et tout particulièrement Margaret Atwood, Jeanne Devoize, Béatrice Piel, Shannon Hengen et Reena Khandpur. À ma famille De commencements en commencements, par des commencements qui n'ont jamais de fin Grégoire de Nysse What comes after a burn? You could say nothing, but there are flowers like dampened embers that burst in cool white smoke and after that, blue lights among the leaves that grow at the basis of the blackened monoliths. Before the burn, this was a forest. Now it is something else: … Atwood, “Burned space” (THP 8-9) That was how I learned about never doing your damnedest; your next-to-damnedest was far better … one should stop tinkering just before the play seems perfect. Robertson Davies, The Deptford Trilogy 2 Introduction........................................................................................................................................................... 6 I. Mise en scène des voix........................................................................................................................................ 23 1. Décors et dominantes thématiques .................................................................................................................26 1. Représentation des espaces "féminin" et "masculin" dans la poésie de M. Atwood.................................. 28 2. Représentation du monde souterrain de Procedures for Underground....................................................... 35 3. Topographie métaphorique à stéréotypes renversés....................................................................................43 2. Quatre registres : superposition des sphères individuelles et collectives........................................................48 1. Superposition des sphères dans The Circle Game...................................................................................... 51 2. Mouvement du regard de l'intérieur vers l'extérieur : égocentrisme universel de "Spelling" ....................54 3. Expérience langagière et expérience humaine .............................................................................................. 57 1. Découverte identitaire et mise en route ......................................................................................................59 2. L'engendrement du langage poétique..........................................................................................................61 3. Mise en scène des aventures du poète ........................................................................................................66 4. Libération, tâtonnements et épiphanies éphémères ....................................................................................69 5. Doutes et difficultés d'orientation............................................................................................................... 74 4. Prédominance des pistes métafictionnelle et féministe dans les poèmes en prose ........................................ 78 1. Parodie de genres littéraires dans Murder in the Dark ............................................................................... 81 2. Effets de pastiche et de parodie : correspondance entre "Women's Novel" et Lady Oracle.......................83 3. Déconstruction de l'intrigue dans "Happy Endings"................................................................................... 86 4. Mensonges et effets de réel dans "Murder in the Dark" .............................................................................89 II Personae et partitions...........................................................................................................................................97 Préambule : Identité des voix et partitions........................................................................................................ 100 1. Les multiples incarnations de la voix sybillienne ........................................................................................ 102 2. Les personae animalières : filiation mythique et folklorique........................................................................106 1. Eclairage epitextuel................................................................................................................................... 108 2. Motif victimaire : Etude du poème éponyme "The animals in that country" ...........................................112 3. Motif indigène........................................................................................................................................... 116 4. Voix des animaux : voi(x)/(es) brouillées................................................................................................. 121 3. Un laborantin déchaîné : La persona de Power Politics ...............................................................................129 1. Ironie sur l'être aimé..................................................................................................................................133 2. Le biologiste en colère.............................................................................................................................. 139 3. L'ouverture au-delà de la colère................................................................................................................ 144 4. Exploitation poétique de figures reconnues.................................................................................................. 151 1. La voix double : exemple de Susanna Moodie ........................................................................................ 154 2. Présentation de Susanna Moodie...............................................................................................................155 3. La voix double de Susanna Moodie.......................................................................................................... 160 4. Images spéculaires.....................................................................................................................................162 5. Carrière littéraire de Moodie, selon les Journals d'Atwood...................................................................... 174 2. Le potentiel intertextuel du conte de fées dans les poèmes en prose .......................................................... 182 1. Réécriture idéologique dans "Gertrude Talks Back" et "The Little Red Hen Tells All" ......................... 186 2. Indispensable ingrédient littéraire : les femmes démentes ou démoniaques ............................................189 3. La voix qui exige : "Circe/Mud Poems"................................................................................................... 200 3. "Siren Song" et "Corpse Song" .................................................................................................................... 205 1. "Siren Song" : la voix qui appelle le lecteur, son confident .....................................................................206 2. Le chant des sirènes...................................................................................................................................207 3. Zenia : l'incarnation d'une sirène...............................................................................................................210 4. Illustration de la dynamique de la confession........................................................................................... 213 5. La voix qui dérange : "Corpse Song" .......................................................................................................214 III. Profil de la Voix atwoodienne........................................................................................................................223 1. La voix du chef d'orchestre soliste: rapprochement intuitif ......................................................................... 226 1. Emergence d'une différence et célébration d'un don.................................................................................229 2. Rattachement au groupe des poètes.......................................................................................................... 232 3. Stratégie de l'être singulier........................................................................................................................ 236 2. Profil philosophique de la Persona et influence nietzschéenne.....................................................................241 1. Volonté de Puissance et capacité à lâcher prise........................................................................................ 243 2. Difficulté de la mise en œuvre de l'idéal nietszchéen : l'imagerie de la dépression
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