Lecture Sémiotique Du Sou Shen Ji De Gan Bao : Modèles Théoriques Et Interprétations Du Discours Lu Zhang

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Lecture Sémiotique Du Sou Shen Ji De Gan Bao : Modèles Théoriques Et Interprétations Du Discours Lu Zhang Lecture sémiotique du Sou shen ji de Gan Bao : modèles théoriques et interprétations du discours Lu Zhang To cite this version: Lu Zhang. Lecture sémiotique du Sou shen ji de Gan Bao : modèles théoriques et interprétations du discours. Littératures. Université Sorbonne Paris Cité, 2015. Français. NNT : 2015USPC0018. tel-01567609 HAL Id: tel-01567609 https://tel.archives-ouvertes.fr/tel-01567609 Submitted on 24 Jul 2017 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. Institut National des Langues et Civilisations Orientales École doctorale n°265 Langues, littératures et sociétés du monde ASIES THÈSE EN COTUTELLE avec Université de Wuhan présentée par : Lu ZHANG soutenue le 1 Décembre 2015 pour obtenir le grade de Docteur de l’INALCO Discipline : Littératures et civilisations Lecture sémiotique du Sou shen ji de Gan Bao : Modèles théoriques et interprétations du discours THÈSE dirigée par : M. Frédéric WANG Professeur des universités, INALCO M. Hongmiao WU Professeur des universités, Université de Wuhan RAPPORTEURS : M. Eric LYSOE Professeur des universités, Université Blaise-Pascal M. Xinmu ZHANG Professeur des universités, Université de Nankin MEMBRES DU JURY : M. Rémi MATHIEU Directeur de recherche émérite, CNRS M. Frédéric WANG Professeur des universités, INALCO M. Xinmu ZHANG Professeur des universités, Université de Nankin M. Qinggang DU Professeur des universités, Université de Wuhan M. Hongmiao WU Professeur des universités, Université de Wuhan 摘摘摘 要要要 《搜神記》是志怪小說中最具代表性和影響力的作品,其歷史和藝術價值在同類 作品中無可比擬。其作者幹寶是東晉時期著名的文人和史學家。在他眾多的歷史及 文學作品中,《搜神記》是最成功的一部。此書收納了約 464 則相互獨立的故事,主 題豐富多彩,在一定程度上反映了其時中國人的思想與信仰。我們在論文中運用格 雷馬斯的符號學理論對這部作品進行研究。 我們在論文的第一部份中對作品進行了簡要的介紹。我們首先理清了對其創作 最主要的三種影響 :古代神話,巫術文化,陰陽五行理論。爲了更好地瞭解作品, 我們又展開了作者生活的那個時代的歷史與社會圖卷,描繪出其民間風俗,思想潮 流,社會變遷等。我們同時也對作品本身做了介紹,包括作者生平,創作動機等。 論文的第二部份旨在對整部作品的中心詞“神”進行話語分析。如題所示,作 者意在“搜神”,然而對作者來說,“神”是一個混雜的概念,包含各種常人奉為神 靈的超自然與超人類的力量。在這一部份中,我們通過分析與描繪四類超自然力量: 神(特指具有某一職位或頭銜的神靈),仙(永生不死之存在),鬼(死而複返之幽 靈),妖怪(包括各種具有預言性質的反常現象,動植物幻化而成的精怪,以及各種 奇詭可怖的事物) , 提供了一幅更清晰的“神”的形象。通過對這四類範疇分別對 應的文本的話語與義素分析,我們不難看出這四類超自然力量分別代表著中國人眼 中“神”的不同側面。我們同時也可以看出,在中國文化中,“神“處在宗教,政治, 倫理的十字路口上,並不是在神學和超驗層面上清晰定義的概念。 在第三部份中,我們主要分析了《搜神記》的敘事特徵,同時以格雷馬斯敘事 模型為參考,慾創建一個新的更適合分析《搜神記》中志怪故事的敘事模型。 關鍵詞:搜神記 幹寶 志怪 符號學 格雷馬斯 敘事模型 Remerciements J’adresse ici ma profonde reconnaissance à Monsieur le Professeur Frédéric Wang et Monsieur le Professeur WU Hongmiao, mes directeurs de thèse, qui ont bien voulu m'accorder leurs aides durant toutes ces années de recherches afin que mon travail se déroule au mieux, et dont les remarques précieuses, la patience et la gentillesse m'ont encouragée à accomplir ce travail. Je veux remercier Monique Casadebaig, une camarade et une bonne amie, qui m’a donné de précieux conseils à propos du maniement de la langue française. Je tiens aussi à remercier tous les professeurs de l’Université de Wuhan et ceux de l’Institut national des langues et civilisations orientales, qui m’ont offert leur soutien et encouragement. J’exprime aussi ma reconnaissance à tous mes amis chinois et français que j’ai connus à Paris, qui m’ont honorée de leur amitié chaleureuse et leur soutien spirituel. Un remerciement spécial à mes parents, qui m’ont encouragée et soutenue pendant toutes les années de recherches, et à qui je dois énormément ce travail. Table des matières Table des matières ................................................................................................................................. 1 Introduction ........................................................................................................................................... 5 Présentation du sujet ........................................................................................................................ 5 Le travail de Mastère 2 et la problématique du travail doctoral ...................................................... 6 Méthodes et procédures ................................................................................................................... 9 Le problème du corpus .................................................................................................................. 12 Etat présent de la recherche ........................................................................................................... 14 Plan de la thèse .............................................................................................................................. 22 Partie I Présentation de l’œuvre ...................................................................................................... 27 Chapitre 1 Les influences sur le genre zhiguai et sur l’œuvre du Sou shen ji ............................... 29 1.1 Des mythes et des légendes ............................................................................................. 30 1.2 La sorcellerie ................................................................................................................... 35 1.2.1 Le métier du sorcier ( wu 巫) en Chine ................................................................. 36 1.2.2 La sorcellerie dans le Sou shen ji .......................................................................... 40 1.2.2.1 Les trois techniques principales ................................................................. 40 1.2.2.2 Le culte de la couleur rouge ....................................................................... 45 1.2.2.3 L’emploi des plantes .................................................................................. 46 1.2.2.4 L’emploi des animaux ................................................................................ 49 1.2.3 En guise de conclusion sur la sorcellerie .............................................................. 51 1.3 La théorie du yin 陰 et du yang 陽 et la théorie des cinq éléments ............................... 52 Chapitre 2 L’auteur du Sou shen ji ................................................................................................ 60 2.1 L’auteur et son temps ....................................................................................................... 60 2.2 La motivation et le but de l’auteur ................................................................................... 63 Partie II La composante discursive - Le système des puissances surnaturelles dans le Sou shen ji ............................................................................................................................................................. 66 Chapitre 3 Préliminaire théorique.................................................................................................. 68 3.1 Quelques concepts de base .............................................................................................. 68 3.1.1 Figure .................................................................................................................... 68 3.1.2 Parcours figuratif et configuration discursive ....................................................... 69 3.1.3 Rôle thématique et acteur ..................................................................................... 70 3.1.4 Les sèmes .............................................................................................................. 72 3.1.5 Isotopie ................................................................................................................. 73 3.2 Méthodes d’analyse : quelques variations appliquées au Sou shen ji .............................. 74 Chapitre 4 Les dieux dotés d’une fonction .................................................................................... 78 4.1 L’origine animiste de la croyance aux dieux ................................................................... 78 4.2 Entre dieux et hommes : une relation qualifiée de « récompense » ................................. 80 4.2.1 Introduction .......................................................................................................... 80 4.2.2 L’analyse discursive du texte ................................................................................ 82 4.2.2.1 Des parcours et des rôles thématiques dans le texte .................................. 85 4.2.2.2 Des parcours figuratifs aux isotopies sémiologiques ................................. 90 4.2.2.3 Vers l’isotopie sémantique ........................................................................ 94 4.2.3 Les éléments culturels dans le texte ...................................................................... 94 1 4.3. Entre les dieux et les hommes : une relation dénommée « mariage » ............................ 98 4.3.1 Introduction .......................................................................................................... 98 4.3.2 Analyse discursive .............................................................................................. 102 4.3.3 Les éléments culturels du texte ........................................................................... 105 4.3.3.1 La thématique « rêver de la déesse » : tabou sexuel et valeur de la piété filiale ...................................................................................................................
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