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Des Premiers Textes Romanesques Algériens De Langue Française À La Production Littéraire Contemporaine En Algérie

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Des Premiers Textes Romanesques Algériens De Langue Française À La Production Littéraire Contemporaine En Algérie République Algérienne, Démocratique et Populaire Ministère de l’enseignement supérieur et de la recherche scientifique UNIVERSITÉ ABOU-BEKR BELKAÏD – TLEMCEN Faculté des Lettres et des langues Département des langues étrangères Français L.M.D Option : Sciences des textes littéraires Thèse de Doctorat Thème : Des premiers textes romanesques algériens de langue française à la production littéraire contemporaine en Algérie : Diversité énonciative, mutations discursives et quête identitaire. Réalisée par : M. BENEDDRA Mohammed Rachid Les membres du jury : M. BENMOUSSAT Boumedienne Ŕ Professeur Ŕ UABT Ŕ Président Mme BENMANSOUR Sabiha Ŕ Professeur Ŕ UABT Ŕ Rapporteur Mme BRAHMI Fatima Ŕ MCA Ŕ UABT Ŕ Examinatrice me M TABET Zoulikha Ŕ MCA Ŕ Université d’Oran Ŕ Examinatrice Mme MAICHE Hazar Ŕ MCA Ŕ Université Badji Mokhtar Annaba Ŕ Examinatrice Année universitaire 2017-2018 Remerciements Je tiens à remercier ma directrice de thèse Madame Sabiha BENMANSOUR. Je lui exprime toute ma gratitude pour son accompagnement dans la réalisation de mes études. Je tiens également à remercier tous ceux qui m’ont soutenu tout au long de mon parcours. Dédicaces À mes parents. Table des matières Introduction ..................................................................................................................................... 5 CHAPITRE I : ............................................................................................................................... 12 Cadre théorique et méthodologique : De la textualité à la discursivité 1.1 La notion de Texte : ................................................................................................................. 13 1.2 La littérature algérienne d’expression française : les textes fondateurs ............................. 28 1.3 La situation de communication : ............................................................................................. 44 1.4 La situation d’énonciation : ..................................................................................................... 54 CHAPITRE II ................................................................................................................................ 66 Contemporanéité et le monde littéraire en Algérie 2.1 Diversité énonciative : Postindépendance et contemporanéité dans la littérature algérienne : 67 2.2 La production littéraire contemporaine en Algérie : .......................................................... 102 2.3 La prolifération discursive dans le texte littéraire algérien : ............................................. 119 CHAPITRE III ............................................................................................................................ 141 Analyse : Textes à l’appui 3.1 La quête du sens dans le roman de Mohammed DIB, La Grande Maison, 1952. ........... 143 3.2 Être et vouloir être dans le roman de Mourad Djebel, Les Sens Interdits, 2001. ............ 156 3.3 La quête de la paix dans le roman de Malika Mokeddem, Des Rêves et Des Assassins :174 3.4 La quête de la vérité dans le roman de Salim Bachi, Tuez-les Tous, 2006. ..................... 188 3.5 Raison et déraison dans le roman de Maïssa Bey : Puisque mon cœur est mort : ........... 205 3.6 La notion du bien et du mal dans le recueil de nouvelles de Yasmina Khadra, Les Chants Cannibales, 2012. ......................................................................................................................... 216 3.7 Le jeu du « je » dans le roman de Amin Zaoui : Festin de Mensonges, 2007. ................ 231 Conclusion .................................................................................................................................... 249 Bibliographie................................................................................................................................ 257 Sitographie ..................................................................................................................................... 265 Annexes ......................................................................................................................................... 266 Introduction Introduction À l’entame de cette recherche, il convient de constater que la production littéraire contemporaine en langue française prend de l’ampleur en Algérie. Il est donc question de nouvelles générations d’écrivains algériens qui continuent à écrire en langue française à l’instar des pères fondateurs de la littérature algérienne d’expression française, notamment Mohammed Dib, Mouloud Mammeri, Mouloud Feraoun ou encore Kateb Yacine. Si nous désignons ces écrivains comme fondateurs de la littérature algérienne, c’est qu’ils ont mis en valeur leur algérianité dès leurs premiers romans : La Grande Maison, La Colline Oubliée, La Terre Et Le Sang, et Nedjma. S’il s’agit d’une continuité dans la production littéraire entre les deux générations, il en va autrement pour ce qui est du discours émanant de leurs œuvres littéraires. Cela est dû aux différentes mutations sociales, politiques et culturelles ; c’est pourquoi nous avons pris l’initiative de constituer un exemplier pour en faire notre corpus d’analyse. À cet effet, nous proposons une analyse du discours dans le roman de Malika Mokaddem, Des Rêves Et Des Assassins, celui de Maïssa Bey, Puisque mon cœur est mort, celui de Mourad Djebel, Les Sens Interdits, celui de Salim Bachi, Tuez-les Tous, celui d’Amin Zaoui, Festin De Mensonges, et une nouvelle de Yasmina Khadra, extraite Des Chants Cannibales, intitulée, La longue nuit d‘un repenti. À la lecture de ces textes, nous remarquons une diversité énonciative construite à partir des différents contextes de leur production. Ce changement contextuel a eu un impact considérable non seulement sur cette nouvelle génération d’écrivains algériens, mais également sur la production de discours dans leurs textes littéraires. Par conséquent, il est question de nouvelles préoccupations chez les auteurs algériens contemporains par rapport aux pères fondateurs ayant construit leurs romans dans une sphère coloniale. Il est vrai que l’écriture romanesque a pris de nouvelles perspectives si nous la comparons aux premiers textes algériens d’expression française. D’ores et déjà, nous sommes amené à poser un questionnement sur les caractéristiques de l’écriture romanesque contemporaine d’expression française en Algérie. ~ 6 ~ Introduction Précisons que le contexte de production des œuvres romanesques contemporaines représentant notre corpus, se situe dans un espace-temps assez particulier (1995-2012). D’une part, nous tenterons, tout d’abord, de mettre en avant les particularités de cette période, et de démontrer à quel point apparait une continuité au niveau du discours romanesque algérien. D’autre part, nous devrons mettre en évidence la discontinuité due à la différence de contexte des productions romanesques en Algérie. Pour ce faire, nous mettrons en valeur les mutations dans différents domaines, ainsi que leur impact sur les textes de notre corpus. À cet effet, nous nous posons donc les principales questions qui vont orienter notre réflexion : 1- Quelles sont les caractéristiques des textes fondateurs de la littérature algérienne d’expression française ? Les textes fondateurs de la littérature algérienne d’expression française ont des caractéristiques que nous tâcherons de mettre en évidence. Ainsi, nous devrons repérer dans ces textes, des éléments linguistiques mettant en relief la notion de l’algérianité chez les pères fondateurs. Nous posons l’hypothèse que les écrivains que nous considérons comme fondateurs de la littérature algérienne, le sont parce qu’ils ont dépassé le mimétisme, et sont réellement créateurs d’une littérature algérienne d’expression française. Nous citons Mohammed Dib, Mouloud Mammeri, Mouloud Feraoun et Kateb Yacine. 2- Comment pourrions-nous considérer qu’il y a une continuité ou une discontinuité dans le discours au niveau de la littérature algérienne d’expression française ? Les écrivains contemporains auraient pris leurs ainés pour des modèles à partir desquels ils auraient construit leurs romans dans une sphère contemporaine. Si nous partons du constat que beaucoup de romanciers contemporains continuent à écrire en français ; ceci mettrait en avant une continuité dans l’écriture romanesque algérienne de langue française. ~ 7 ~ Introduction 3- Y a-t-il une nouvelle configuration discursive dans la littérature algérienne d’expression française ? Nous considérons que l’écriture romanesque en Algérie est passée par différentes périodes historiques qui ont façonné la réalité contemporaine. N’est-ce pas là une caractéristique révélatrice de nouvelles formations discursives ? 4- Quelles sont les convergences ou encore les divergences entre les deux générations d’écrivains algériens ? Nous admettons que les écrivains contemporains prennent les textes fondateurs comme un symbole d‘algérianité dans le monde littéraire. Dès lors, ils produisent leurs romans à partir d’un nouveau contexte en Algérie de manière à faire apparaitre de nouveaux discours. Ajoutons également qu’il serait question d’une nouvelle façon de dire l’Algérie. Par voie de conséquence, nous sommes amené, à partir d’une lecture croisée, à opter pour une démarche énonciative après avoir mis en évidence quelques notions de la transtextualité reliant les textes de notre corpus afin de répondre à la problématique suivante : - Comment se construit la diversité énonciative à partir des productions littéraires algériennes de langue française
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