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Sherlock (20 10) Et La Renaissance Contemporaine Du Mythe Holmésien

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Sherlock (20 10) Et La Renaissance Contemporaine Du Mythe Holmésien UNIVERSITÉ DU QUÉBEC À MONTRÉAL SHERLOCK (20 10) ET LA RENAISSANCE CONTEMPORAINE DU MYTHE HOLMÉSIEN MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES PAR SARAH GRENIER-MILLETTE AVRIL 2016 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire 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.0?-2011 ). 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 remerc1e tout d'abord mon directeur, Samuel Archibald, pour son soutien intellectuel et pour avoir su me donner le goût d'étudier la culture pop et le récit policier. Un grand merci aussi à Alice van der Klei qui m'a prise sous son aile dès ma première session d'université et sans qui je ne serais pas arrivée au terme d'un mémoire saine et sauve. Merci à Antonio Dominguez Leiva, Lucie Desjardins et Johanne Villeneuve pour leurs conseils. Merci à Bertrand Gervais et à toute l'équipe du centre Figura, du Laboratoire NT2 et de l'Observatoire de l'imaginaire contemporain. Travailler avec vous est un plaisir chaque jour renouvelé. Un immense pl'Ops à mon crew. Méli, Émie, Cat, Marie-Do, Rémi et Seb, vous êtes formidables et je vous adore. Que la force soit avec vous. Merci aussi à Martin, Jean-Michel, Manon, Bronja, Jasmin, Gina et Andréanne. Un remerciement tout spécial à Ariane pour m'avoir fourni un MacBook Pro quand Khalee a assassiné le mien. Un immense merci à ma mère Chantal, mon inspiration et ma force; à ma sœur Camille, à mon père Sylvain et à Francis, exterminateur de semaine, mais super­ héros de fin de semaine qui réussit à me faire oublier ma culpabilité d'avoir du plaisir quand je ne suis pas enchaînée à ma rédaction. Finalement, merci à Lady Gaga, 2NE1, Madhuri Dixit et Katrina Kaif (et par extension YouTube) pour avoir rempli mon univers de couleurs, de confettis brillants, de chorégraphies, de mélodies pop et de citares. Je dédie ce mémoire à l'hirondelle qui nous a quittés à l'hiver 2013. TABLE DES MATIÈRES LISTE DES FIGURES .. ......................... ................... .............. .................. vi RÉSUMÉ ........................ ......... ........................... ...... ......... .................... vii INTRODUCTION .... ............. ....... ... ......................... .. .............................. 1 CHAPITRE I COMPOSITION ET ÉMANCIPATION DU MYTHE HOLMÉSIEN .................. 7 1. 1 Du mythe archaïque au myth e contemporain ........................... .. .. ........... 8 1.2 Le mythe littéraire holmésien : canon et récits apocryphes .. .......... ... ....... 14 1.3 L'émancipation du mythe holmésien .......................................... ........ ... 22 1.4 La transmédialité du mythe holmésien : transfictionnalité et jeux de temps et d'espace ...... ..................... ...... ............... ...... .. ................................ 34 1.4.1 Déplacements transfictionnels .................... ....... ....... ...... ........ 39 1.4.2 Déplacements géographiques ......... .... .... ... .............. ................ 41 1.4.3 Déplacements temporels .................. .................. ..................... 43 CHAPITRE II SHERLOCK : TRANSPOSITION CONTEMPORAINE D'UN MYTHE VICTORIEN .... ..... .... ............................. .... ................. ...... 48 2.1 Uchronie, mondes possibles et néo-victorianisme : la transposition contemporaine comme parallèle victorien ................................. ............ 50 2.2 Représenter l'amitié masculine : du lien homosocial victorien à la bromance contemporaine ......... ... ... .... .. .............................. ....................... ... .... 53 iv 2.3 Le marginal social : du m01·ally insane au sociopathe ............ ...... ............ 60 2.3.1 L'excentrique et l'être asocial à l'ère victorienne ......... ... ............ 61 2.3.2 La sociopathie de John : miroir de la société contemporaine .. ....... 69 2.4 Nouvelle lecture du personnage technologique :de l'homme-machine au digital native ......... ...... .... .. ........ .......... ......... ... .... .. ........... ...... ... ...... 76 2.4.1 L'homme-machine de Conan Doyle ...... ..... .......... .... .... ............. 77 2.4.2 Sherlock, le digital native ................................................ ....... 78 CHAPITRE III SHERLOCK: DE L'IMPORTANCE DE LA COMMUNAUTÉ DES FANS DANS L'ÉMANCIPATION TRANSMÉDIATIQUE DU MYTHE HOLMÉSIEN ......... 83 3.1 Construire Sherlock, ou comment attirer les aficionados holmésiens et fidéliser un nouveau public ......... ................... .................................... 87 3. 1.1 Dyna mique de l'écho intertextuel comme indice dans l'implication du spectateur ...... ... ... .. .. ................. ........................ ............ 88 3.1.2 La création d'un nouveau fandom ... ... ...... ... ...... ....... ................ 94 3.2 Comment la communauté des fans influence-t-elle la création de l'œuvre? 99 3.2.1 « The Reichenbach F all » et la mort de Sherlock. ................. .. ... 109 3.2.2 « The Empty Hearse » et les theories sur la résurrection de Sherlock ......... .... .................................. ....... ................ 120 CONCLUSION .. ... ... .. ................................................. ......... ............ ... 126 APPENDICE A Liste des récits du canon holmésien ................................................ ........ 131 v APPENDICE B «Index des œuvres concernant Sherlock Holmes (1900-2010) répertoriées par A. Barnes dans Sherlock Holmes On Screen. The Complete Film and TV His tory» ............... .................. .. ......... ......................... .... .............. .. ... 134 APPENDICE C «Ajouts au corpus d'Alan Barnes »............... .. .. ......... .......... .. ...................... 146 TABLEAU 1 «Tri type/décennie/lieu» ...... .................. ......... .... ................................... 148 TABLEAU2 « Déplacements transfictionnels » ....................................... ..................... 149 TABLEAU 3 « Déplacements géographiques>> ...... .... ..... ... ...... .......... ......... ................... 150 TABLEAU 4 «Déplacements temporels» ............... ...................................... ............... 151 SOURCES ET RÉFÉRENCES ...................... .......................................... 152 LISTE DES FIGURES Figure Page 1. SherlockROCKSmySOCK. 2011, Sherlock the Dragon ...... ......... .. .. ... ......... 102 2. SherlockShivernShake, 2012, sherlock and john watch the avengers ... ......... 103 3. maXKennedy, 2012, Sherlock BBC -Blinded... .................. .. .................... 104 4. maXKennedy, 2012, Sherlock BBC- Friday i'm in love ... ........................... 104 5. Deductism, 2012, « #believeinsherlock ». [Captures].. ....... ............... ........... 116 6. dramatisecho, année inconnue, sans titre, sur la page Tumblr « watson's- warriors » ............................................................... ............................. 117 7. BeeonUtube's channel, 2012, « How Sherlock faked his death in 'The Reichenbach Fall' BBC one» [Captures].. ....... ... ...... ................................ 119 8. Un corbillard sur Bake.r Street #sherlocklives sur Twitter. Captures de tweets du 28 et 29 novembre 2013 ......... ..... ................................................. ..... 121 9. « #SherlockLives », Gatiss, Mark et Steven Moffat, 2014, «The Empty Hearse », Sherlock [Capture] .............................................. .... .......... ...... .. ........... 123 RÉSUMÉ Depuis sa prem1ere apparition dans A Study in Scarlet, Sherlock Holmes, personnage créé par Arthur Conan Doyle en 1887, a fait sa place au sein de la culture populaire en tant que figure mythique à travers les multiples adaptations libres dont il a fait l'objet, et ce, depuis la fin du XIXe siècle. On remarque pourtant, au xxre siècle, certains cas isolés et très récents de transpositions contemporaines actualisées de la figure du détective de Baker Street, soit Elementary (Robert Doherty, 2012-) et Sherlock (Mark Gatiss et Steven Moffat, 2010-). C'est cette dernière actualisation qui nous intéresse ici. Ce que nous offrent Mark Gatiss et Steven Moffat, créateurs de Sherlock, c'est un Sherlock Holmes hypermoderne, une remise à zéro du personnage qui apparaît au xxre siècle comme pour la première fois, mais chargé de tout un bagage intertextuel issu des variations précédentes. S'établit alors un formidable jeu de reconstruction du canon holmésien puisque le glissement temporel permet de bâtir une version neuve, à partir d'intertextes, d'un personnage et d'un univers peut-être un peu
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