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L'auteur Dramatique Et La Conscience Professionnelle (1610-1640)

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L'auteur Dramatique Et La Conscience Professionnelle (1610-1640) Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-9-2018 3:00 PM L'auteur dramatique et la conscience professionnelle (1610-1640) Heather N. Kirk The University of Western Ontario Supervisor Leclerc, Jean The University of Western Ontario Graduate Program in French A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Heather N. Kirk 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the French and Francophone Literature Commons Recommended Citation Kirk, Heather N., "L'auteur dramatique et la conscience professionnelle (1610-1640)" (2018). Electronic Thesis and Dissertation Repository. 5950. https://ir.lib.uwo.ca/etd/5950 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Résumé Ce travail s’inscrit dans un prolongement des ouvrages socio-littéraires publiés depuis La Naissance de l’écrivain d’Alain Viala en 1985. L’« écrivain » est l’incarnation professionnelle de l’auteur et se distingue de celui-ci par son inscription au sein de la République des Lettres, un espace défini par les mécanismes socio-politiques de son époque (académies, salons, public payant, doctes, libraires). L’écrivain – l’homme de lettres professionnel – s’émancipe du milieu purement intellectuel et se construit un réseau de circulation qui permet les concurrences. Nous proposons que les auteurs dramatiques de l’époque pré-académique (vers 1610-1640) étaient déjà conscients d’une hiérarchie, de l’utilité sociale et de la qualité esthétique de leurs œuvres, les critères que Viala attribue au littérateur professionnel seulement à partir de l’âge classique. Progressivement, l’auteur dramatique pré-académique rentre dans ces critères et mérite le nom de professionnel. Mots clés Auteur; poète; dramaturge; tragédie; critique; spectateur; publication; querelles; rhétorique; France; XVIIe siècle; histoire du théâtre; histoire littéraire; littérature; théâtre; théorie de la réception; théorie; poétique. i Abstract This dissertation falls within the scope of a number of socio-literary studies published since Alain Viala’s La Naissance de l’écrivain (1985). According to Viala, the “author” is the professional incarnation of the writer (in the mechanical sense of “scribe”). He is recognisable by his participation in the Republic of Letters and his validation by the various socio-political structures of his era (academies, salons, paying public, critics, printers). To be considered an author, or a professional man of letters, one must successfully emancipate oneself from purely intellectual milieus in order to build networks that allow for competition. Contrary to Viala’s assertion that the professional author is born in the French neo-classical era, in this dissertation, it is argued that pre-academic playwrights (c. 1610- 1640) demonstrate their awareness of the extant and growing hierarchies of their field, the social purpose of their profession, and the aesthetic value of their works. Over the course of the pre-academic era, playwrights increasingly meet the criteria of the professional author. Keywords Author; poet; playwright; tragedy; critic; criticism; spectator; publication; quarrels; rhetoric; France; 17th Century; theatre history; literary history; literature; theatre; reception theory; theory; poetics. ii Dédicace To my parents, Scott and Ann, for their love and support. And to my late grandmother Maureen Kirk who cheered me on from the first. iii Remerciements Cette thèse doit beaucoup aux collègues et aux amis qui m’ont soutenue et encouragée du début jusqu’à la dernière page de rédaction. Je tiens en premier lieu à remercier mon directeur de thèse, Dr. Jean Leclerc, qui a non seulement accepté de diriger ce projet, mais qui l’a fait avec tant de patience, d’enthousiasme et de finesse. Il est devenu non seulement un ami, mais un modèle à suivre pendant toute ma carrière. Je lui exprime ma profonde gratitude. J’aimerais remercier Dr. John Nassichuk pour la précieuse attention qu’il a portée à ce travail en tant que deuxième lecteur de ma thèse : ses questions, ses commentaires et ses corrections m’ont beaucoup aidée. Ses séminaires doctoraux ont été particulièrement fondamentaux à ma formation de jeune chercheur. J’adresse mes vifs remerciements au professeur Patrick Dandrey de l’université Paris-Sorbonne qui m’a invitée à assister aux séminaires sur la naissance de la critique littéraire sous l’égide du CELLF 17e-18e en 2010-2012. Je remercie vivement les professeurs qui ont bien voulu participer à l’examen de ma dissertation : Dr. Perry Gethner, Dr. John Nassichuk, Dr. Daniel Vaillancourt et Dr. Laurence deLooze. Merci de votre lecture attentive, de vos questions intéressantes et de vos corrections. Je voudrais aussi remercier mes amis, mais surtout ceux du Département d’études françaises et de la Maison des étudiants canadiens à Paris qui ont vécu cette expérience avec moi. Pour les discussions, débats, relectures et traductions, les soirées, voyages et cafés, tous les bons conseils et le nombre infini de messages sur WhatsApp… Que vous trouviez dans ce travail l’expression de mes plus sincères remerciements. iv Un grand merci aux directeurs du Département d’études françaises et du programme gradué pendant la durée de mon inscription : Dr. Randall, Dr. Lamarche, Dr. Heap, Dr. Vaillancourt et Dr. Poiré. Merci aussi à Mme Debbie Smith, Mme Chrisanthi Ballas, Mme Mirela Parau et Mme Kristina Loucks. I owe a special thanks to my friends and colleagues in the Faculty Writing Group at Brescia University College. The weekly check-ins, support, stickers, suggestions, tips and tricks, and collegiality were invaluable during the last phase of revising, rewriting, and concluding. The dissertation writing process often seems solitary and interminable. As the writing period stretched on and paragraphs were squeezed out between contract courses scattered across campuses and part time jobs to make ends meet, I wondered how I would ever finish. Being a part of the academic precariat is stressful and disheartening: the reality of Canadian universities today has caused better researchers than me to abandon the course. I am so grateful to have had the encouragement from my supervisor and professors, my friends, my colleagues, and even my students. I could not have managed these last years without the support and encouragement of many people – too numerous to name –, but I would be remiss if I did not single out my family for their patience, understanding, and love. Thank you. v Table des matières Résumé ................................................................................................................................ i Abstract .............................................................................................................................. ii Dédicace ............................................................................................................................ iii Remerciements ................................................................................................................. iv Table des matières............................................................................................................ vi Note sur la graphie ......................................................................................................... viii Introduction ....................................................................................................................... 1 Le déclin et l’essor du genre tragique ............................................................................ 2 Le théâtre pré-académique et le regard critique actuel ................................................ 12 Méthodologie, corpus et subdivision du travail ........................................................... 14 Chapitre I ......................................................................................................................... 20 1 La « vogue » de la tragédie ........................................................................................... 20 1.1 L’imitation et l’inspiration : entre « larcin » et « empreinte » ............................... 25 1.2 « La renaissance de la tragédie » ........................................................................... 28 Une formule d’analyse .............................................................................. 28 L’héroïne tragique : l’inventio .................................................................. 30 « Raconter une histoire » : la dispositio .................................................... 41 Une nouvelle conception du discours tragique : l’elocutio ....................... 66 Un retour sur la formule d’analyse ........................................................... 92 1.3 La tragédie et la tragi-comédie : les premières définitions ................................... 94 Chapitre II ..................................................................................................................... 110 2 Les figures et les stratégies d’auteurs......................................................................... 110 2.1 Le poète et sa troupe ........................................................................................... 112 La troupe itinérante ................................................................................
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