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ENGAGEMENTS DE LA FORME. FRANCE ET ITALIE/ 1950-1965 Une Sociolecture Des Œuvres De Claude Simon Et Carlo Emilio Gadda

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ENGAGEMENTS DE LA FORME. FRANCE ET ITALIE/ 1950-1965 Une Sociolecture Des Œuvres De Claude Simon Et Carlo Emilio Gadda ENGAGEMENTS DE LA FORME. FRANCE ET ITALIE/ 1950-1965 Une sociolecture des œuvres de Claude Simon et Carlo Emilio Gadda by Cecilia Benaglia A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland Février, 2017 ©2017 Cecilia Benaglia All Rights Reserve Dissertation abstract The dissertation explores the relationship between literature and politics in France and Italy within the context of the historical and political crises that followed the Second World War. More precisely, the work at hand examines the historical shift that occurred in the understanding of what makes literature “legitimate”: while at the end of the war the dominant, or normative, literature was the committed (“engagée”) one defined by Jean- Paul Sartre, the two following decades witnessed the emergence of literary practices that instead conferred ideological value on formal experimentation. I focus on two writers, Claude Simon and Carlo Emilio Gadda, who both rejected the figure of the “committed intellectual,” and yet gave shape to innovative forms of ethical engagement while taking a stand in contemporary debates on authorial responsibility. Taking a sociological approach, my reading sheds new light on an overlooked aspect of the works of these authors, namely, their social dimension and the ways in which their writing and formal experimentations interacted with such mid-century ideologies as fascism and socialism. The dissertation also studies Simon’s and Gadda’s works in a new way by situating them in a transnational space, an approach which has yet to receive in-depth attention. This dissertation has a two-fold goal; on the one hand, it re-examines the works of Simon and Gadda from a social and political perspective, in opposition to the received view that portrays them as apolitical. On the other hand, it participates in the comparative project of re-reading well-established national literary traditions (here, French and Italian), from a transnational and global vantage point. Carlo Emilio Gadda and Claude Simon, despite the distance between their works and the fact that they never met, appear ii to be part of the same moment in the evolution of literary discourse. They struggled with a similar set of questions informing the literature of the post-war decades, and offered comparable solutions concerning the literary treatment of political and historical topics. I argue that in order to fully grasp the shift in the perception of the political value of modern literature that Simon and Gadda represent, we should understand it as the result of dynamics taking place not only in their national fields, but also at the European scale. iii à Anna iv Dissertation abstract ................................................................................................... ii INTRODUCTION ........................................................................................................... 1 1. Un changement dans la bourse des valeurs littéraires .................................................. 1 2. France et Italie dans le champ transnational ...................................................................... 6 3. Une « troisième » voie littéraire ....................................................................................... 10 4. Une perspective sociocritique .......................................................................................... 15 5. Corpus d’étude ................................................................................................................. 20 CHAPITRE 1 - Le champ transnational : France et Italie .............................................. 24 1. Introduction ................................................................................................................... 24 1.1 De l’engagement à sa remise en question ...................................................................... 24 1.2 Synchronisations littéraires. Gadda et le Nouveau Roman ............................................ 37 2. Deux trajectoires dans l’espace transnational ................................................................. 46 2.1 Carlo Emilio Gadda dans l’après-guerre : entre néo-réalisme et néo-avant-garde ........ 47 2.1.1 De la guerre civile à la Libération .......................................................................................... 49 2.1.2 La crise et les institutions de la vie littéraire : le champ après 1945 ..................................... 52 2.1.3 La crise et les institutions littéraires ..................................................................................... 57 2.1.4 Réception par la neoavanguardia et consécration ............................................................... 64 2.2 Claude Simon : entre roman engagé et Nouveau Roman .............................................. 66 2.2.1 Héritages familiaux, formation et premiers romans ............................................................. 67 2.2.2 Le tournant des années 1950 ................................................................................................ 72 2.2.3 Engagement et confrontation avec l’existentialisme ............................................................ 78 3. Contre-engagement : posture et éthos ........................................................................... 89 3.1 Le modèle Céline : le styliste contre l’intellectuel .......................................................... 92 3.2 Réticences et résistances vis-à-vis de l’assertion ............................................................ 97 v 3.3 Écrivain – artisan ........................................................................................................... 107 CHAPITRE 2 - L’unité du champ transnational du point de vue théorique ................ 116 1. Baroque : migrations géographiques et disciplinaires d’une notion .............................. 117 1.1 Un palimpseste sémiotique .......................................................................................... 118 1.1.1 France : la montée du baroque entre « génie classique » et structuralisme ...................... 121 1.1.2 Italie, le baroque contre le mythe de la décadence ............................................................ 126 1.2 Importations littéraires ................................................................................................. 133 1.2.1 Gadda et l’encombrante étiquette de baroque .................................................................. 135 1.2.2 Simon, expérimentation entre littérature et peinture ........................................................ 137 1.2.3 L’écriture baroque dans le champ français ......................................................................... 139 1.2.4 Le baroque contre l’italien moyen ...................................................................................... 143 2. Une constellation de notions ........................................................................................ 147 2.1 France – une « décennie formaliste » .......................................................................... 150 2.2 Italie, la stylistique et la philologie à la source du structuralisme ................................ 156 2.3 Théorie et littérature .................................................................................................... 166 3. Dispositifs formalistes : la théorie à travers les œuvres ................................................ 172 4. La défamiliarisation comme procédé rhétorique .......................................................... 186 CHAPITRE 3 - Le monde social comme représentation ............................................. 197 1. IntroDuction ............................................................................................................. 197 1.1 Modalités du rapport à l’histoire et au politique .......................................................... 201 1.2 Le monde social comme représentation ...................................................................... 205 1.3 Sonographier le monde social ...................................................................................... 210 1.4 Images sociales, foyers idéologiques ............................................................................ 212 2. Gadda et le monde social ............................................................................................. 215 vi 2.1 Imaginaire de la langue et fascisme .............................................................................. 215 2.1.1 La parole, première institution sociale : politiques linguistiques fascistes ......................... 216 2.1.2 Echolalie et automatismes de langage ................................................................................ 220 2.1.3 Propriété privée et propriété langagière ............................................................................ 227 2.1.4 Une langue hyperpublique .................................................................................................. 232 2.2 Calvino lecteur de Gadda dans le contexte théorique des années 1960 ...................... 236 2.3 Hypertaxe et instinct de la combinaison ...................................................................... 242 2.3.1 Éthique et combinatoires sociales ...................................................................................... 249 2. 4 L’analyse des apparences ...........................................................................................
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