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Université Du Québec À Montréal Le Chant Des UNIVERSITÉ DU QUÉBEC À MONTRÉAL LE CHANT DES SIRÈNES OU DE LA DÉMESURE OCÉANOGRAPHIQUE DANS LES RÉCITS D’EXPLORATION SOUS-MARINE EN FRANCE (1950-1960) THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN ÉTUDES LITTÉRAIRES PAR MYRIAM MARCIL-BERGERON FÉVRIER 2020 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 – Rév.10-2015). Cette autorisation stipule que «conformément à l’article 11 du Règlement no 8 des études de cycles supérieurs, [l’auteur] concède à l’Université du Québec à Montréal une licence non exclusive d’utilisation et de publication de la totalité ou d’une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l’auteur] autorise l’Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l’Internet. Cette licence et cette autorisation n’entraînent pas une renonciation de [la] part [de l’auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l’auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je souhaite exprimer toute ma reconnaissance à Lucie Desjardins et Jean-François Chassay. Je ne pourrais imaginer meilleure équipe de direction : leur soutien indéfectible, leur enthousiasme et leurs remarques judicieuses m’ont accompagnée à chaque étape de cette plongée. Je remercie Rachel Bouvet, André Carpentier, Hélène Guy et les membres de La Traversée pour les réflexions stimulantes partagées au cours de séminaires et d’expéditions mémorables. Je remercie également Johanne Villeneuve et Jean-François Hamel pour leurs conseils avisés ainsi que Denise Brassard et Véronique Cnockaert pour avoir fait de l’examen doctoral un moment aussi enrichissant. J’ai le privilège d’être entourée de personnes sans qui la rédaction aurait été une aventure autrement plus éprouvante. Je leur sais gré de leur patience, de leur curiosité et de leurs encouragements prodigués avec une générosité incroyable : mes parents, Yvon Bergeron et Chantal Marcil, pour l’accueil inconditionnel et la balançoire côté cour; Evelyne, ma sœur, pour la complicité et les escapades; Jacob, mon frère qui jaugeait ma productivité journalière en nombre de mots; Nathalie, ma marraine, pour la lecture et les discussions inspirantes. Merci à mon amoureux, Michaël Larouche, qui a dissipé les doutes puis célébré chaque nouveau chapitre. Écrire aux côtés de quelqu’un passionné par ce qu’il fait, même si les mystères du C++ demeurent pour moi insondables, est source de bonheur. Merci aux amies et amis exceptionnels : Anick Bergeron, Benoit Bordeleau et Janie Lafrenière, Karine Boudreau, Hugo Bourcier, Marilou Campeau, Sylvie Hertrich, David Barba et la casa au système d’alarme possédé, Francis Hervieux, Maude Lafleur et Stéphanie Vallières, Raphaële St-Sauveur Brien, Sébastien Roldan, Esther Savoie, Martine Bisson et François St-Jean-Pelletier. Je remercie chacun, chacune m’ayant soutenue dans la recherche de solutions au défi financier qu’a représenté la rédaction de cette thèse ainsi que Lucie pour sa disponibilité et sa compréhension, le Département d’études littéraires, la Fondation de l’UQAM et Figura, le Centre de recherche sur le texte et l’imaginaire, pour les contrats et les bourses qui ont fait une énorme différence dans mon parcours. Enfin, merci à J. R. et à Thèsez-vous pour l’écoute et l’aide inestimable. Merci! TABLE DES MATIÈRES LISTE DES FIGURES .................................................................................................... vii LISTE DES SIGLES ...................................................................................................... viii RÉSUMÉ .......................................................................................................................... ix INTRODUCTION .............................................................................................................. 1 Des récits-laboratoires....................................................................................................3 Les monstres marins.......................................................................................................4 L’autopsie des sirènes....................................................................................................9 PREMIÈRE PARTIE ENTRE SCIENCE ET FICTION ..................................................................................... 15 CHAPITRE I L’IMAGINAIRE OCÉANOGRAPHIQUE ..................................................................... 16 1.1 La démesure du discours océanographique ........................................................... 19 1.2 La fonction critique de la littérature ....................................................................... 21 1.3 L’imaginaire scientifique ....................................................................................... 23 1.4 Le rôle de la vulgarisation ...................................................................................... 27 1.4.1 L’autorité militaire en matière d’exploration sous-marine ............................. 29 1.4.2 Différentes stratégies d’apprentissage ............................................................ 30 1.4.3 Le progrès comme fiction ............................................................................... 35 1.5 « Bien plus qu’un roman de Jules Verne » ............................................................ 39 1.5.1 Ambiguïtés fictionnelles ................................................................................. 41 1.5.2 Une frontière poreuse ..................................................................................... 45 1.5.3 De fameux personnages : les Mousquemers ................................................... 49 1.6 La conquête du Far West bleu ............................................................................... 51 1.6.1 Un espace en dehors des lois .......................................................................... 52 1.6.2 La ruée vers l’or et autres pépites insolubles .................................................. 57 iv CHAPITRE II RACONTER L’EXPLORATION SOUS-MARINE ....................................................... 63 2.1 Les temps héroïques ............................................................................................... 66 2.1.1 Être le premier ................................................................................................ 68 2.1.2 Un monstre à quatre bras ................................................................................ 73 2.1.3 L’ivresse du langage ....................................................................................... 78 2.1.4 La course aux abysses ..................................................................................... 84 2.1.5 L’orgueil des records ...................................................................................... 89 2.1.6 Le camp des céphalopodes ............................................................................. 93 2.2 Les mailles d’un filet rhétorique ............................................................................ 97 2.2.1 Aux sources d’une soif millénaire ................................................................ 103 2.2.2 La foi océanographique de l’homme prométhéen ........................................ 106 2.2.3 Incarner Glaucos ........................................................................................... 109 2.2.4 Les débordements de la fiction ..................................................................... 112 DEUXIÈME PARTIE FAIRE APPARAÎTRE LE MONDE DU SILENCE ..................................................... 115 CHAPITRE III L’ÊTRE EN VERTIGE .................................................................................................. 116 3.1 Le « plongeur nu », mais non dans un si simple appareil .................................... 119 3.1.1 De l’air à grandes gorgées ............................................................................ 121 3.1.2 En eaux troubles sous la terre ....................................................................... 122 3.1.3 Observer le milieu sous-marin ...................................................................... 130 3.2 La révélation sous-marine .................................................................................... 135 3.2.1 Si Narcisse avait été un plongeur ................................................................. 137 3.2.2 Les ailes d’Icare ............................................................................................ 142 3.3 Rêver profondément ............................................................................................. 148 3.3.1 Rêveries infernales ....................................................................................... 149 3.3.2 Quand les amarres sont rompues .................................................................. 154 3.3.3 La nuit liquide ............................................................................................... 158 v CHAPITRE IV UN FIRMAMENT ABYSSAL .....................................................................................
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