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Le Retour Critique De L'intrigue Dans Le Nouveau Roman Français Le retour critique de l’intrigue dans le Nouveau Roman français : entre tension et passion Nabil Najjara To cite this version: Nabil Najjara. Le retour critique de l’intrigue dans le Nouveau Roman français : entre tension et passion. Littératures. Université Toulouse le Mirail - Toulouse II, 2012. Français. NNT : 2012TOU20028. tel-00949178 HAL Id: tel-00949178 https://tel.archives-ouvertes.fr/tel-00949178 Submitted on 19 Feb 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 5)µ4& &OWVFEFMPCUFOUJPOEV %0$503"5%&-6/*7&34*5²%&506-064& %ÏMJWSÏQBS Université Toulouse 2 Le Mirail (UT2 Le Mirail) 1SÏTFOUÏFFUTPVUFOVFQBS Nabil Najjara -F 08 juin 2012 5Jtre : Le retour critique de l'intrigue dans le Nouveau Roman français : entre tension et passion École doctorale et discipline ou spécialité : ED ALLPH@ : Lettres modernes 6OJUÏEFSFDIFSDIF LLA Créatis (EA 4152) %JSFDUFVS T EFʾÒTF M. Guy Larroux, Professeur Université Toulouse 2 - Le Mirail 3BQQPSUFVST M. Vincent Jouve, Professeur Université de Reims Chamapgne-Ardennes M. Braud Michel, Professeur Université de Pau et des Pays de l'Adour "VUSF T NFNCSF T EVKVSZ M. Gaudard François-Charles, Professeur Université Toulouse 2 - Le Mirail 1 Université de Toulouse II – Le Mirail (Université de Toulouse) Le retour critique de l’intrigue dans le Nouveau Roman français : entre tension et passion Par Sous la direction de Nabil Najjara M. le Professeur Guy Larroux Thèse présentée à l’université de Toulouse II – Le Mirail En vue de l’obtention du diplôme de Doctorat de l’Université de Toulouse Spécialité : Lettres modernes 2 N° d’ordre : Université de Toulouse Année 2012 Thèse Pour l’obtention du Diplôme de Doctorat de l’Université de Toulouse Présentée A l’Université de Toulouse II-Le Mirail Par Nabil Najjara Discipline : Lettres modernes Unité de recherche : LLA Soutenue publiquement le 08 Juin 2012 Jury M. LARROUX Guy (Université de Toulouse II- Le Mirail) Directeur de recherche M. BRAUD Michel (Université de Pau) Rapporteur M. JOUVE Vincent (Université de Reims) Rapporteur M. GAUDARD François-Charles (Université de Toulouse II) Membre du jury 3 Résumé L’objet de cette recherche est de revisiter la notion d’intrigue dans le Nouveau Roman après une campagne de dénigrement théorique menée par certains nouveaux romanciers. Une reconsidération qui s’inspire essentiellement des travaux de Paul Ricœur sur « La Mise en intrigue » et qui se fonde principalement sur les études récentes de Raphaël Baroni sur « la tension narrative ». Dans la première partie il s’agit de remettre en perspective littéraire et critique cette notion en la confrontant au roman dit « traditionnel » et en parcourant les travaux nombreux des écrivains, critiques et théoriciens qui ont abordé cette question. La deuxième partie est concrètement une mise en chantier où sont éprouvées les idées de fiction, de passion, de suspense et de tension. Enfin la dernière partie est une sorte de reprise d’un modèle précis d’intrigue qui est celui du roman policier dans la perspective de mettre en évidence son aspect passionnant et passionnel. Mots-clés : L’intrigue / le Nouveau Roman / la fiction / la passion / le suspense / la curiosité / la surprise / la tension narrative / le structuralisme / la théorie de la réception. 4 Abstract The object of this research is to revisit the notion of “intrigue” in the new novel after a campaign of theoretical belittlement led by certain new novelists. A reconsideration which is essentially inspired by Paul Ricœur’s works on “ the stake in intrigue” and which is based mainly on the recent studies of Raphaël Baroni on the narrative tension. In the first part it is question of handling in literary and critical perspective this notion by confronting it with the so-called “traditional” novel and by examining the numerous works of the writers, the critics and the theorists who approached this question. The second part is concretely and deeply analysed where the ideas of fiction, passion, suspense and tension are studied. Finally the last part is a kind of resumption of precise model of “intrigue” which is the one of the detective novel in the perspective to bring to light its fascinating and passionate aspect. Keyboards: Intrigue, The New Novel, fiction, passion, suspense, curiosity, surprise, narrative tension, structuralism, theory of reception. 5 Table des matières Résumé .............................................................................................................................4 Abstract ............................................................................................................................5 Table des matières ............................................................................................................6 Dédicace .........................................................................................................................10 Avant-propos ..................................................................................................................11 Introduction générale .....................................................................................................12 Première partie : L’intrigue en question ...................................................................22 1- Le roman traditionnel ................................................................................................27 A- La vraisemblance ......................................................................................................28 B- La linéarité ................................................................................................................30 C- La causalité ...............................................................................................................32 D- Complétude et unité ..................................................................................................34 E- Le dispositif du dénouement .....................................................................................36 2- Henry James ..............................................................................................................44 3- L’intrigue dans le nouveau roman .............................................................................50 A- « Le front du refus » .................................................................................................52 B- L’avènement du rien .................................................................................................57 C- Le modèle générique .................................................................................................62 D- Le référent, le signifié et la langue ...........................................................................65 a- La mouvance du système référentiel .........................................................................65 b- Description, culture et articulation ............................................................................68 c- Intrigue et référence dans la conception simonienne de la langue ............................75 4- Le retour critique de l’intrigue ..................................................................................82 A-Tzvetan Todorov…….................................................................................................82 6 B- Paul Ricoeur.…………….........................................................................................86 5- Raphaël Baroni .........................................................................................................96 A- Baroni et l’anti-structuralisme .................................................................................96 B- La tensivité dans le nouveau roman .........................................................................99 C- Tension narrative et mise en intrigue ......................................................................104 Deuxième partie : Fiction, récit et intrigue ..............................................................114 1- Fiction, récit et intrigue ...........................................................................................115 2- Temps et tension dans le nouveau roman ................................................................121 3- Espace et tension dans le nouveau roman ...............................................................135 A- La Mise en scène : entre espace et tension .............................................................137 a- La naissance du récit et l’espace du doute ...............................................................137 b- l’itinéraire de Lassalle entre simplicité et complexité .............................................140 B- Le Maintien de l’ordre entre tension et aveuglement .............................................143 C- Le quotidien et la métaphore du labyrinthe ............................................................145 4- Description et tension dans le nouveau roman ........................................................150 A- « L’humanisme tragique » ......................................................................................153
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