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Université Du Québec À Montréal Lecture De L'espace Occupé Par Trois Châteaux Imaginaires (Argol, Bastian! Et Usher) Mémo

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Université Du Québec À Montréal Lecture De L'espace Occupé Par Trois Châteaux Imaginaires (Argol, Bastian! Et Usher) Mémo UNIVERSITÉ DU QUÉBEC À MONTRÉAL LECTURE DE L'ESPACE OCCUPÉ PAR TROIS CHÂTEAUX IMAGINAIRES (ARGOL, BASTIAN! ET USHER) MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES PAR DANIELLE LA CHANCE JUILLET 2019 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, 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 Mille fois merci à madame Rachel Bouvet, professeure, auteure et directrice de mémoire hors pair. Aussi calme et patiente que compétente, elle a dirigé mon travail pendant ces deux années, contre vents et marées, dans les espaces multiples de la recherche littéraire. Je tiens à lui exprimer ma profonde reconnaissance. C'est grâce à ses remarques, ses conseils et ses encouragements, que j'ai enfin réussi à mener ce projet à terme. Je dédie ce mémoire à mon mari, Michel Maheu, qui m ' a accompagnée tout au long de ce parcours et m'a permis de réaliser mon rêve. TABLE DES MA Tl ÈRES LISTE DES FIGURES .............................................................................................................. v RÉSUMÉ ..................................................................................... ... ...... ... ............................... .. vi INTRODUCTION ....................................... ............. ... .. ... ... ................. ..................................... 1 CHAPITRE I CADRE THÉORIQUE ................................ ..................................................... 7 1.1 Qu'est-ce qu'un château? ............................................................................................... 7 1.1.1 Brefhistorique ............................... .................. .. ....................................... ................ ....... .. ..... 8 1 .1.2 Le château en littérature .. ...................... .. ........ .. ............................................ ... ........ ............ 10 1.2 Le chronotope .... ................ .. .. ... .... ............................. ........................... ...................... ... 13 1.3 La géocritique ................................................................................................................ 16 1.4 La géopoétique .............................................................................................................. 20 1.4.1 L'approche géopoétique ....................................................................................................... 22 1..5 L'hennéneutique ............................. ....................... .... ....................... .. ....................... .. .. 24 1.6 Conclus ion ..................................................................................................................... 29 CHAPITRE II ANALYSE TOPOGRAPHIQUE DES LIEUX ............................................. 30 2.1 La Chute de la maison Usher d'Edgar Allan Poe ......................................................... 30 2.1.1 Le point d'ancrage ....................................................... ............ ....................... ...................... 30 2.1.2 Les li gnes formées par le parcours des personnages ......... ....................................... ............ 32 2.1.3 La surface ou la carte du territoire ..................... ....... .................. ... ... .. .. ............................... 34 2.1.4 Le volume à habiter ................................................. ... ... ... .................................................... 36 .2.2 Au Château d 'A rgol de Julien Gracq .. .............. ........... ... ............................................... 38 2.2.1 Le point d'ancrage ................................................................................................................ 38 2.2.2 Les lignes formées par le parcours des personnages ........................................................... .42 2.2.3 La surface ou la carte du territoire ...................... .. .. ............................................................ .45 2.2.4 Le volume à habiter .. ................ ................. ... ........................................................................ 48 2.3 Le Désert des Tartares de Dino Buzzati ....................................................................... 51 2.3 .1 Le point d'ancrage ..................................... ... .... .................................................................... 51 2.3 .2 Les li gnes formées par le parcours des personnages .................. .......................................... 54 IV 2.3.3 La s urface ou la carte du territoire .................. .. .... .. ............ ... ..... ............ ... ....................... ... 58 2.3.4 Le volume à habiter ....................... .... ........................ .... ... .. .... .... .... ............. ....... .................. 61 2.4 Conclusion .. .. .... ................................................................................. .. .. ........................ 64 CHAPITRE III HERMÉNEUTIQUE DE TROIS CHÂTEAUX ......... .. ... .. ............ ...... ... ..... 66 3.1 L ire ...................................................................... .. ... .... ... ......... .. ................................... 67 3.2 Corn prendre ................................................................................ ... ................................ 68 3.2.1 Les figures spatia les ............ ..... ..................... ...... ............ ............................... .. ... ................. 69 3.2.2 Lieux de mémoire, li eux exempla ires et lieux du cœur .. ........... .. ..... ........ .. .. ............ ........... 74 3.3 Expliquer la configuration del 'ensemble ... ...................... ............................................. 76 3.4 Interpréter ........ ........................................ .. .... ................... ...... ............... .. .. .. ... ............... 81 3.5 Conclusion ....................................................... .. ........................... .. ............................. .. 86 CONCLUSION .............................................................................................................. .......... 88 BIBLIOGRAPHIE ................................................................................................................... 92 LISTE DES FIGURES Figure Page 1 : Le cast le Ei lan Donan, Écosse ............................................................................................ 12 2 : La forteresse de Barn, Iran .................................................................................................. 51 RÉSUMÉ Ce mémoire porte sur l'analyse d' un corpus composé d' une nouvelle et de deux romans construits autour du château, publiés au milieu du xrxeet au début du xxe siècle: on y retrouve une forteresse dans Le désert des Tartares (Il deserta dei Tartari) de Dino Buzzati, paru en Italie en 1940 et traduit en français neuf ans pl us tard ; un château dans Au château d 'A rgol de Julien Gracq, publié en France en 1945 ; un manoir dans La chute de la maison Usher (The Fall of the House of Usher) d'Edgar Allan Poe paru en 1839 aux États-Unis et dans la traduction française de Baudelaire en 1884. Dans les trois cas, le château semble être, sinon le déclencheur de l' intrigue, du moins en est­ il le moteur. C'est pourquoi ces espàces- dans lesquels évoluent les personnages - sont au cœur de ce projet. Dans un premier chapitre, une description et un bref historique du château précède une étude des théories récentes sur l'espace, en particulier celles portant sur le chronotope, la géocritique et la géopoétique, pour accorder plus d' impotiance à la topographie romanesque et à l'approche herméneutique des espaces fictionnels qui font chacun l'objet d'un chapitre et qui sont utilisés pour analyser les œuvres du corpus. Ces analyses permettent en outre de voir si les châteaux de ce corpus sont la métaphore de 1' enfermement, d' un désordre intérieur des personnages, de leur marginalité, ou au contraire, si c'est leur marginalité qui les attire vers ces espaces et les y confine. Les pistes sont nombreuses et elles se multiplient au fur et à mesure de l' analyse pour démontrer, entre autres, que le rôle social des personnages a une influence sur leur façon d' occuper l'espace, et sur leur absence de liberté. L'étude des espaces comparés dans trois œuvres d' origines différentes, contribue à mettre en valeur l' importance de l'influence des écrits de langues différentes et l' ouverture
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