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Tracy.Ollende-Etsendji 4472.Pdf UNIVERSITÉ FRANÇOIS - RABELAIS DE TOURS ÉCOLE DOCTORALE Sciences de l’Homme et de la Société (SHS) Interactions Culturelles et Discursives (ICD) THÈSE présentée par : Tracy OLLENDE-ETSENDJI Soutenue le : 28 Novembre 2014 Pour obtenir le grade de : Docteur de l’université François Rabelais de Tours Discipline/ Spécialité : Lettres Modernes, Littérature française et comparée Littérature et Musique : Essai poétique d’une prose narrative musicalisée dans Ritournelle de la faim de Jean-Marie Gustave Le Clézio, Tous les matins du monde de Pascal Quignard, Les Ruines de Paris de Jacques Réda et Jazz de Toni Morrison. THÈSE dirigée par : TATIN-GOURIER Jean-Jacques Professeur de littérature française, université François-Rabelais de Tours RAPPORTEURS : SANZ Teofilo Professeur de littérature, université de Burgos (Espagne) STAFFORD Hélène Professeur de littérature, université Aston Birmingham (U.K) JURY : KASSAB-CHARFI Samia Professeur de littérature à l’université de Tunis (Tunisie) LEUWERS Daniel Professeur honoraire, expert, université François-Rabelais de Tours SANZ Teofilo Professeur de littérature, université de Burgos (Espagne) STAFFORD Hélène Professeur de littérature, université Aston Birmingham (U.K) TATIN-GOURIER Jean-Jacques Professeur de littérature française, université François-Rabelais de Tours Dédicaces Nos dédicaces vont particulièrement à l’endroit de Daniel Leuwers pour ses précieux conseils et ses orientations bibliographiques qui ont permis à notre recherche d’avancer considérablement. Ces dédicaces ne sauraient être complètes si nous oublions de remercier Jean-Jacques Tatin pour ses encouragements académiques, Teofilo Sanz pour son expérience technique liée aux domaines des différents liens entre la littérature et la musique mais aussi Aude Locatelli dont les études axées également sur la Littérature et la Musique ont permis d’établir une certaine transcendance de ces derniers concepts dans le roman du XX ème siècle. 1 Remerciements Au terme de la rédaction de cette thèse, nous adressons notre profonde gratitude à Monsieur Henri Berson, professeur de musique pour ses cours particuliers de solfège ainsi qu’au docteur en médecine Ollende Crépin pour ses explications sur le système vocal humain et la mise en relation du système laryngo-pharyngien avec le domaine acoustique. C’est un honneur aussi pour nous d’adresser l’expression de notre gratitude à Jean- Marie Gustave Le Clézio pour ses encouragements liés à la recherche du fonctionnement narratif de son œuvre Ritournelle de la Faim, aux phénomènes musicaux qui y sont attachés et pour l’intérêt qu’il n’a cessé de manifester pour notre travail. Qu’il nous soit également permis de remercier Monsieur Byambou Wolfgane, ingénieur en systèmes embarqués pour ses contributions non négligeables sur la transmission acoustique et les notions d’Amplitude sonore en Physique. 2 Exergues « Il est certain que l’activité des penseurs des lumières, d’un Rousseau en particulier, a lointainement préparé les esprits et les oreilles à entendre cette musique autre, pour ne pas dire à entendre autrement la musique ». 1 « Pour comprendre la chose littéraire et le phénomène de l’Art en général, il faut trouver des moyens pour intégrer la môusikè ».2 « Une grande partie de la musique contemporaine est gouvernée par des structures et des contenus (topiques, sujets) émanant de modèles extra-musicaux, ce que présentent de nombreuses pièces de musiques électro-acoustiques et « mixtes ». »3 1 Mercier-Faivre (A-M.), Séité (Y.), « Le Jazz à la lumière de Jean-Jacques Rousseau », l’Homme, 2011/2-3, n°158-159, p.35-52. 2 Pajevic (M.), Poésie et Musicalité : liens, croisements, mutations, Harmattan « les Mondes germaniques » (collection), Paris et Belfast 2007. p.13. 3Grabόcz (M.), Musique, narrativité, signification, Paris, Harmattan, 2009, p.34. 3 Résumé Les concepts de littérature et de musique ont toujours été liés depuis l'antiquité grecque. En effet, cette relation est le fruit de plusieurs affinités d'ordre esthétique qui les coordonnent dans la mesure où l’un structure et l’autre matérialise les données à exposer. Autrement dit, la littérature a toujours servi de structure ou de support au XX ème pour dire les phénomènes de langage qui incluent la mathématique, l’informatique et bien d’autres domaines. Aussi, l’esthétique musicale comportant essentiellement les codes rythmiques notamment les figures de silence, les codes acoustiques (notes de musique, instruments de musique), la fréquence des notes, leur hauteur et surtout leur amplitude; sous la forme musicale de la structure narrative, c’est-à-dire une articulation sémantique et discursive des mots et expressions qui cachent en réalité les codes de l’esthétique musicale se révèle une sorte de débordement de la diégèse. Ce débordement de la diégèse se lit dans l’acoustique sémantique ou discursive par plusieurs éléments similaires dans leurs constitutions respectives notamment: le rythme qui est représenté dans le texte littéraire par la rupture momentanée d’une séquence narrative, et en musique par la notion de pause musicale; la rime qui crée des effets de sens musicaux dans les textes en prose mais aussi le phénomène de la répétition narrative qui joue sur la phonie; la gestion de l'intensité dramatique qui se rapproche du phénomène de l'intonation montante en musique; l'amplitude des phrases, similaire au jeu musical qui est en constante variation afin de produire des ondes porteuses de rythme favorable à la transmission auditive du texte et enfin (cette fin de liste est non exhaustive), le timbre vocal et/ou acoustique des textes à étudier afin de dégager des notes de musique et montrer que le texte littéraire peut s’organiser esthétiquement comme une partition musicale. C’est donc ce travail de correspondance entre la discontinuité sémantique et discursive du texte du XX ème siècle (contaminé par les codes de musique) et la constitution d’une partition musicale qui nous aidera à mieux cerner le lien entre littérature et musique. Autrement dit, nous procéderons à une dissémination énonciative et discursive des textes choisis pour montrer une similarité entre la structure narrative déconstruite des textes du XX ème siècle et une partition musicale dans sa forme schématique, visuelle. Notre étude prendra à cet effet appui sur quatre œuvres : Tous les Matins du monde4 de Pascal Quignard, Ritournelle de la faim5 de J.M G le Clézio, Les Ruines de Paris6 de Jacques Réda et Jazz7 de 4 Quignard (P.), Tous Les matins du monde, Paris, Editions Gallimard, 1991. 5 Le Clézio (J.M G.), Ritournelle de la Faim, Editions Gallimard, 2008. 6 Réda (J.), Les Ruines de Paris, Paris, Editions Gallimard, 1993. 7 Morrison (T.), Jazz, Paris, Edition de Christian Bourgois, 1993. 4 Toni Morrison ; œuvres à travers lesquelles nous montrerons comment les phénomènes musicaux affectent le texte littéraire par le biais d'un signifié verbal, narratif voire dramatique musicalisé. 5 Résumé en anglais Since ancient Greece, the music and literature concepts have always been linked. In fact, this relationship had started from the consequence of several aesthetic affinities that coordinate as much as one structure and one materializes the data to expose. In other words, literature has always served as a structure or support the twentieth century to say the language phenomena including mathematics, data processing and many other fields. Also, the musical aesthetics essentially containing the rhythmic codes including “figures de silence”, acoustic codes (music notes, musical instruments), the frequency of notes, especially their height and amplitude; under the musical form of the narrative structure that’s mean, semantic and discursive articulation of words and phrases that actually conceal codes music, reveals a kind of overflow of the literary text. This overflow of the literary text reads in the acoustic semantic or discursive several similar elements in their respective constitutions include: The rhythm is represented in literary text by the temporary failure of a narrative sequence, and music by the notion of musical pause; the rhyme that creates the effects of meaning musical in prose but also the phenomenon of narrative repetition plays on the sound; the management of dramatic intensity that approaches the phenomenon of rising intonation in music; amplitude phrases similar to the music game is constant variation in order to produce carrier waves of the auditory rhythm beneficial transmission of text and finally ( the end of the list is not exhaustive ), the voice tone and / or acoustic texts to study in order to identify musical notes and show that the literary text can be organized aesthetically like a musical codes. So, this work of correspondence between the semantic and discursive discontinuity text of the twentieth century (contaminated by the codes of music) and the creation of a musical game that will help us better understand the link between literature and music. In other words, we will conduct a discursive enunciation and dissemination of selected texts to show a similarity between the deconstructed narrative structure of the texts of the twentieth century and a musical game in its schematic form, visual. Our study supports on four works (books): All the Mornings of the World Easter Quignard Ritournelle hunger the JMG Le Clézio, The Ruins of Paris Jacques Reda and Jazz by Toni Morrison; This books through which we show how musical phenomena affect the literary text through a mean musicalized dramatic, narrative and verbal. 6 SOMMAIRE Dédicaces ..................................................................................................................................
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