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Smyth, Edmund Joseph (1993) the Nouveau Roman and the Aesthetics of Modernity and Postmodernity. Phd Thesis

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Smyth, Edmund Joseph (1993) the Nouveau Roman and the Aesthetics of Modernity and Postmodernity. Phd Thesis Smyth, Edmund Joseph (1993) The nouveau roman and the aesthetics of modernity and postmodernity. PhD thesis. http://theses.gla.ac.uk/4834/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] THE NOUVEAU ROMAN AND THE AESTHETICS OF MODERNITY AND POSTMODERNITY by Edmund Joseph Smyth, MA (Hons) Submitted for the degree of Doctor of Philosophy, Department of French, University of Glasgow, September, 1993. cJ E. J. Smyth, 1993 ACKNOWLEDGEMENTS Some parts of this thesis originally appeared (in substantially modified form) in Romance Studies, French Studies Bulletin, and Postmodernism and Contemporary Fiction (Batsford, 1991). I would like to thank the respective editors and publishers for their permission to use this material. Above all, I should like to express my gratitude to the following for the invaluable assistance they have extended to me: David H. Walker, my original supervisor, for his unfailing encouragement, guidance and advice; the Scottish Education Department, for the award of a studentship which provided the financial means to undertake this project; the Institut Francais D'Ecosse, the University of Dundee, and the University of Liverpool, for grants permitting me to carry out research in France; the Department of French of the University of Glasgow for their interest in this project; and the Librarian and staff of Glasgow University Library, University of Liverpool Sydney Jones Library, the Bibliotheque Nationale and Centre George4-pgnpidou, Paris, for their efforts on my behalf. I am particularly grateful to my wife, Caroline, and my parents, for their constant support 'end patiepce over the years. CONTENTS Introduction 3 1 Modernism and Representation 14 2 Jean Ricardou and the Practices of Modernity 55 3 Robbe-Grillet's Un Regicide: Narrative Embedding and 134 the Limits of Literary History 4 The nouveau roman and Postmodernism 160 5 The Subversive Text: Ideology, Postmodernity and the 193 nouveau roman 6 Autobiography and Postmodern Textuality 229 Conclusion 304 Bibliography 308 1 SUMMARY This study considers the relationship between the nouveau roman and the aesthetics of modernity and postmodernity. By nouveau roman, it is meant the creative and critical practice of those writers - principally Michel Butor, Robert Pinget, Jean Ricardou, Alain Robbe- Grillet, Nathalie Sarraute and Claude Simon - who have dominated the French literary scene for some forty years and whose influence in the modern novel generally has been incontestable. It is argued that since its inception, the nouveau roman has been characterized by a concern to justify and legitimize its endeavours by systematically positioning itself in a literary-historical sense in terms of a progressive modernity. At first, this was evident from the encounter with modernism, stressing the extent to which the formal procedures in their fiction were so designed as to convey the fragmentation of reality and consciousness. At a later stage, this mimetic impetus would be rejected in favour of a poetics of textual autonomy and reflexivity, in harmony with the evolution into a nouveau nouveau roman under the aegis of Jean Ricardou. Finally, the abandonment of this aesthetic programme would be signalled by the appearance during the 1980s of their autobiographical writings. The periodizing versions provided to account for such a supposed 'development' are analysed in some depth in order to demonstrate the extent to which such narratives should be considered as strategic constructs whose objective is both to position the nouveau roman in literary history as well as to direct the reader's response to the texts in question. 2 This study does not therefore offer a totalizing or homogenizing account of the nouveau roman; rather, the diversity of aesthetic practices and responses is stressed. Unlike previous studies which have been undertaken of the nouveau roman, the present has been informed by the controversies in postmodernism which it is suggested can lead to a fruitful reconsideration of a number of key issues including reading, representation, autobiography, the political and ideological dimension, and of course the question of literary history itself as a problematic critical discourse. It is argued that the nouveau roman has been central to the debates which have been set in train in contemporary culture surrounding many of these topics. Far from becoming ossified into a literary 'period' with a fixed set of precepts, it is maintained that these mobile and plural texts have continued to elicit fertile critical approaches. It is hoped that this study will contribute to such a reassessment of the nouveau roman by its focus on how it has been deeply implicated in the aesthetics of modernity and postmodernity. Within this perspective, this study attempts to evaluate some forty years of creative and critical practice, culminating in the recent autobiographical texts which have so far received very little critical attention. 3 INTRODUCTION 4 The nouveau roman has now dominated the French literary scene for some four decades. It has also unquestionably influenced the development of contemporary fiction at an international level, reversing many of the assumptions and conventions in the novel generally. It would not be inaccurate to state that it has in many respects initiated the metafictional dimension of what has come to be regarded as postmodern writing. Indeed, the transgressive and self- reflexive formal procedures used in many nouveaux romans have been seen as in many ways axiomatically postmodernist. Arguably, the nouveau roman has been instrumental in setting the terms of the debate in contemporary culture surrounding the questions of representation, reflexivity, reading, and the status of writing and language. It is as both a creative and a critical practice that its force has rested, in the sense that since its inception it has been deeply implicated in the repercussions of these arguments which have been taking place. The nouveau roman has been at the centre of the discussion of the aesthetics of modernity and postmodernity, both in terms of the textual operations in their novels and in their public contributions in the form of essays, interventions at colloquia, and interviews. Although the individual writers were hostile to the notion that they could in any sense be considered a 'group', 'movement' or 'school', it is important to consider, nevertheless, how the nouveau 5 roman initially constituted itself in literary-historical terms as part of the attempt to legitimize and justify its endeavours in literary experimentation. This legitimizing strategy was of course characterized by a systematic contestation of the techniques and precepts of the Balzacian 'classic realist' novel and the overt promotion of a modernist practice. In terms of the polemical tactics in which they have been engaged, periodization has been a feature of their 'aesthetic politics' since the essays by Alain Robbe-Grillet and Nathalie Sarraute written in the 1950s and early 1960s, and has continued right up until the late 1980s, in texts such as the contributions to the New York colloquium in 1982, Claude Simon's Discours de Stockholm, and Robbe-Grillet's autobiographical writings. It is apparent that the nouveaux romanciers have considered themselves the 'successors' of a number of modernist writers, whose 'progressive' subversion of plot, character and linear and causal narrative they consider themselves to have incorporated and extended. In addition to this evaluation of their position in the history of the modern novel, it is also very much the case that these novelists have been preoccupied with narrativizing the evolution of their own practices over the decades. Versions of such a development have been adduced in order to valorize their writing, frequently with recourse to concepts imported into the nouveau roman from structuralism and poststructuralism - although it could of course be argued that contemporary literary theory has itself arisen partly as an attempt to articulate the radical experience of ecriture presented by the nouveau roman itself. Therefore, in spite of the numerous disclaimers which have been issued concerning both their composition 6 as a group and the validity of their theoretical pronouncements of whatever kind, it remains true that the nouveau roman has been constantly prepared to enter the wider debates in aesthetics. Few literary 'movements' have been so closely concerned with the question of reading itself. This is particularly apparent in the context of the encounter with modernism. It was repeatedly stated by the nouveaux romanciers that they were in fact seeking to provide a more accurate representation of reality than that which classic realism presented. Realism and reference were therefore key concepts in the strategies they invoked in defence of their writing practices, and indeed readings of many of their novels were specifically invited on that basis. Denying that they were motivated by an 'arid' formalism, they insisted that an attempt was being made to translate into the novel the fragmentation and discontinuity of reality, consciousness, perception, and memory. In this respect, they were of course relying on a set of arguments derived from modernism itself: the 'modernity' of the nouveau roman rested therefore on the manner in which the fiction they produced was more in harmony with the nature of reality and perception than that which was the case in the classic realist text. Indeed, the notion of a 'classic realist' text was one which was deliberately fostered in order to encapsulate the aesthetic which was claimed to have been superseded.
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