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Didafictions. Littérarité, Didacticité Et Interdiscursivité Dans Douze

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Didafictions. Littérarité, Didacticité Et Interdiscursivité Dans Douze Didafictions. Littérarité, didacticité et interdiscursivité dans douze romans de Robert Bober, Michel Houellebecq et Yasmina Khadra Karl Ågerup Forskningsrapporter / Cahiers de la Recherche 52 Didafictions Littérarité, didacticité et interdiscursivité dans douze romans de Robert Bober, Michel Houellebecq et Yasmina Khadra Karl Ågerup ©Karl Ågerup, Stockholm 2013 ISSN 1654-1294 ISBN 978-91-7447-748-1 Printed in Sweden by US-AB, Stockholm 2013 Distributor: Department of Romance Studies and Classics, Stockholm University Front page illustration: “Apskogen” (detail) by Clara Bergom Larsson Remerciements J’adresse mes profonds remerciements à mes directeurs de thèse, les profes- seurs Bengt Novén et Roland Lysell. L’extrême dévouement de M Bengt Novén ainsi que ses connaissances dans le domaine de la littérature moderne m’ont considérablement servi tout au cours du processus de travail. Pour M Roland Lysell je suis très reconnaissant qu’il ait accepté de me diriger bien qu’il appartienne à un autre département que le mien. M Lysell a depuis le début fait preuve d’une générosité remarquable en suivant mon travail de près avec une patience admirable. En outre, ses compétences dans le do- maine de la théorie littéraire ainsi que sa perspective historique exhaustive ont été décisives pour l’achèvement de la thèse. Je suis également reconnais- sant envers les collègues spécialisés sur l’analyse du discours, Mme la pro- fesseure Françoise Sullet-Nylander tout en particulier. Sans leur soutien et sans leurs commentaires toujours aussi pertinents je n’aurais pas pu conclure ce travail d’une manière satisfaisante. De même, je voudrais adresser mes remerciements les plus sincères à M Wandrille Micaux qui a accepté d’assurer la révision linguistique et qui m’a toujours encouragé en faisant preuve d’une passion contagieuse pour la littérature et pour l’enseignement. Par ailleurs je voudrais remercier tout le personnel du département – cher- cheurs, enseignants et administrateurs – dont l’humour et l’esprit ouvert ont fait de ces années un plaisir inoubliable. Aussi, je tiens à exprimer ma grati- tude à Andreas Birgegård qui a eu la gentillesse de relire attentivement les synthèses en anglais. Enfin, un grand merci à tous les contributeurs finan- ciers : l’état suédois, la Fondation Knut et Alice Wallenberg, Birgit Bonniers stiftelse et Tillanders stilftelse. Thèse pour le doctorat Doctoral Dissertation Département d’Études Romanes et Department of Romance Classiques Studies and Classics Université de Stockholm Stockholm University S-106 91 Stockholm S-106 91 Stockholm Abstract Using as example twelve novels by Robert Bober, Michel Houellebecq and Yasmina Khadra, the dissertation discusses the aesthetic and pragmatic im- plications of integrating didactically historical reference in fictional narrative and personal theme. Rather than reducing the works of Bober, Houellebecq and Khadra to tendency novels sculptured to pass on a predetermined mes- sage, the study discusses the aesthetic values created by didactical play. Not only does historical reference form the setting of the novels but the feelings and ideas expressed by the characters also point outwards, challenging jour- nalistic discourse and historical fact. After underlining the obvious heritage from social realism, littérature engagée and Tendenzliteratur, the study points to the possibility of a reading mode that uncannily marries self forget- ting imaginary and historical learning. Finding no comprehensive description within existing theories of genre, the thesis proposes the neologism “didafic- tion” for a subcategory to the novel that, by systematic interdiscursive play, call for engagement without subscribing to pre-existent doctrines. The les- sons given by this literature, rather than operating through a traditionally pedagogic rhetoric, work through sophisticated artistic procedures that inte- grate encyclopaedia and ethics in a personal theme structure. Keywords: Didafiction, Literature, Novel, Discourse, Theory, Didactics, Fiction, Aes- thetics, Reception, History, Politics, Ideology, Journalism, Real, Reality, Terrorism, Holocaust, Racism, Post colonialism, Francophone, French, Al- gerian, Polish, Michel Houellebecq, Yasmina Khadra, Robert Bober. Table des matières 1 Introduction.......................................................................................12 1.1 Objectif, matériaux, disposition...................................................................12 1.2 Développement du sujet ...............................................................................16 2 Houellebecq .......................................................................................26 2.1 La citation du monde historique ..................................................................26 2.2 Satire et engagement ....................................................................................32 2.3 Tendance et explication.................................................................................38 2.4 Intégration de personnages historiques dans La carte et le territoire50 2.5 Dissolution de l’opposition animal/humain ...............................................57 2.6 La souffrance didactisée................................................................................60 2.7 Les femmes et la sexualité ...........................................................................64 2.8 Pour le matérialisme contre l’individualisme ............................................73 2.9 Aliénation sociale et corporelle ....................................................................79 2.10 L’aspect médiateur des objets................................................................83 2.11 L’auto-objectivation et le thème de la chaleur ...................................90 2.12 Remarques finales.....................................................................................93 3 Khadra ................................................................................................97 3.1 Présentation de l’auteur ................................................................................97 3.2 Accession au rôle d’expert............................................................................99 3.3 Approche didactique.....................................................................................105 3.4 Choix de langue d’écriture et de genre....................................................107 3.5 Lecteurs visés ................................................................................................111 3.6 Figures de style .............................................................................................113 3.7 Noms propres, ironie dramatique interdiscursive, polysémies et interventions de l’auteur ........................................................................................117 3.8 Personnage-véhicule, placement d’information, personnage typé, narrateur ignorant ...................................................................................................125 3.9 Le thème de l’exclusion...............................................................................132 3.10 Un sujet controversé ..............................................................................137 3.11 L’illusion de vivre l’actualité..................................................................140 3.12 Le problème de l’autorité du médiateur.............................................143 3.13 La solution de l’Autre occidental ..........................................................146 3.14 Yasmina Khadra, pseudo-témoin.........................................................150 3.15 Lecteur et médias interpellés................................................................154 3.16 Le lecteur communiant...........................................................................159 4 Bober.................................................................................................163 4.1 Écrire la Shoah : un acte discursif problématique.................................163 4.2 L’écriture comme mouvement d’intégration et de résistance.............165 4.3 Citer sans expliquer......................................................................................168 4.4 Compléments autobiographiques..............................................................175 4.5 Lecture historique des vestes laissées-pour-compte............................177 4.6 L’indicible présence des absents ...............................................................183 4.7 Un mode de lecture hybride .......................................................................187 5 Conclusion : la didafiction ............................................................189 6 Summary .........................................................................................193 7 Sammanfattning.............................................................................201 8 Bibliographie....................................................................................207 9 Appendice : Interview avec Robert Bober ................................216 Abréviations Extension Extension du domaine de la lutte (Houellebecq 1994) Particules Les particules élémentaires (Houellebecq 1998) Plateforme Plateforme (Houellebecq 2001) Possibilité La possibilité d’une île (Houellebecq 2005) Carte La carte et le territoire (Houellebecq 2010a) Hirondelles Les hirondelles de Kaboul (Khadra 2002) L’attentat L’attentat (Khadra 2005) Sirènes Les sirènes de Bagdad (Khadra 2006) Quoi de neuf
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