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Lieux Critiques : Hybridité Et Hétérotopie Dans La Curée Et Au Bonheur Des Dames

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Lieux Critiques : Hybridité Et Hétérotopie Dans La Curée Et Au Bonheur Des Dames ABSTRACT (MI)LIEUX CRITIQUES : HYBRIDITÉ ET HÉTÉROTOPIE DANS LA CURÉE ET AU BONHEUR DES DAMES by Jacob Stuart Raterman This thesis, composed in French, explores the use of bourgeois urban space in two novels of Émile Zola’s Les Rougon-Macquart. Specifically, by situating these works in the context of Zola’s moralistic naturalism, this paper examines the ways that the author uses literary techniques to effect an imbrication of the spatial and the social, and analyses how these instances of hybridity take on critical weight. While the main focus of this study is on the attention given to descriptions of space and to characters’ interactions with it, Zola’s use of rhetorical strategies, including but not limited to metaphor and metonymy, also undergoes close inspection. In addition to current scholarship on Zola, the theoretical framework developed in this thesis comprises seminal works on the philosophy of space, most notably Michel Foucault’s concept of heterotopia. Having elucidated the the methods by which Zola simultaneously depicts and critiques the socio-spatial evolutions of the Second Empire, the conclusion illustrates the contemporaneity of his assessments of urban space. (MI)LIEUX CRITIQUES : HYBRIDITÉ ET HÉTÉROTOPIE DANS LA CURÉE ET AU BONHEUR DES DAMES A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements of the degree of Master of Arts Department of French and Italian by Jacob Stuart Raterman Miami University Oxford, Ohio 2015 Advisor _____________________ Dr. Jonathan Strauss Reader _____________________ Dr. Elisabeth Hodges Reader _____________________ Dr. Anna Kłosowska © Jacob Stuart Raterman 2015 Table of Contents Introduction 1 Zola et la rhétorique socio-spatiale du roman naturaliste Partie I 10 Transformation urbaine et dégénérescence sociale dans La Curée Partie II 29 Nouveaux espaces commerciaux et refonte identitaire dans Au Bonheur des Dames Conclusion 49 Émile Zola, avant-coureur de la surmodernité Bibliography 54 iii Acknowledgements I would like to extend my heartfelt thanks to the faculty of the Department of French and Italian for its support, guidance, and inspiration over the course of my time at Miami University. I’m particularly grateful for the generous feedback I’ve received from my advisor and readers (Drs. Strauss, Hodges, and Kłosowska), without whose encouragement this thesis would never have reached completion. It has been an honor and a privilege to work with such a gifted and magnanimous group of scholars and mentors. I also owe many thanks to my family, friends, and loved ones for their ongoing support in my academic endeavors and for their patience when I’ve been less than accessible, having allowed myself to be devoured by the fathomless stacks of the library or by long nighttime hours at the office. Little do they realize the extent to which my motivation is drawn from their kindness and caring. iv Introduction Zola et la rhétorique socio-spatiale du roman naturaliste Le roman critique Juste avant l’ouverture du XIXe siècle, la France connut la Révolution et la Terreur qui s’ensuivit. L’espace urbain joua alors un rôle fondamental dans la formation d’un nouveau régime politique : certains espaces parisiens — ses rues étroites et facilement barricadées, ainsi que la Place de la Révolution, entre autres — devinrent les sites privilégiés non seulement d’une révolte physique, mais s’investirent également d’une puissance symbolique, incarnant la mort de l’Ancien Régime et la naissance d’un peuple solidarisé sous le drapeau impérial. Ces grands bouleversements politiques donnèrent suite aussi aux changements sociaux considérables. Le XIXe siècle, sans doute un des plus mouvementés dans l’histoire de France, témoigna de l’avènement et de l’ascension d’une nouvelle classe sociale — la bourgeoisie — dont l’existence provoqua concomitamment la création de nouveaux espaces urbains, commerciaux, et domestiques. Émile Zola (1840-1902), un de ses plus grands écrivains, consacra toute sa vie à la représentation de ce siècle à travers la littérature naturaliste, un mouvement dont il serait considéré plus tard comme le chef de file. Son chef-d’œuvre, Les Rougon-Macquart, est un cycle de vingt romans au fil desquels Zola trace l’évolution d’une famille tout au long du Second Empire, lors du règne de Louis-Napoléon Bonaparte. Un esprit de progrès, sans doute un des majeurs catalyseurs de la Révolution industrielle, se répandait alors dans tous les domaines : l’agriculture, le transport, la métallurgie, le textile, et la médecine faisaient tous de grands pas en avant en cet âge de curiosité scientifique. En tant que journaliste et romancier engagé, Zola avait son doigt sur le pouls de ces courants, et se passionnait lui aussi des discours scientifiques novateurs de ses contemporains. Dans son essai « Le Roman expérimental », il vise une union de la méthode expérimentale et de la genèse littéraire, une fusion qui implique un parallélisme entre la médecine expérimentale (auparavant purement empirique) et la littérature engagée (autrefois plutôt historiographique) : « Nous assistons là aux balbutiements d’une science se dégageant peu à peu de l’empirisme pour se fixer dans la vérité, grâce à la méthode expérimentale. […] Je vais "1 tâcher de prouver à mon tour que, si la méthode expérimentale conduit à la connaissance de la vie physique, elle doit conduire aussi à la connaissance de la vie passionnelle et intellectuelle ».1 En essayant de combler la distance entre le roman et le traité scientifique, Zola montre comment les deux pourraient suivre une démarche analytique identique, axée sur le déterminisme phénoménal. Qu’une telle approche soit épistémologiquement solide est douteux : contrairement au point du vue de Zola, nous ne pouvons voir dans le romancier aucune objectivité véritable par rapport à sa création, auquel il a toujours un parti pris et ne peut donc pas attester à la même distance phénoménale que l’expérimentateur. Ceci dit, ce qui nous importe n’est pas l’efficacité de la méthode zolienne, mais plutôt le rôle que joue l’observation dans sa vision du naturalisme. Il constate que toute expérience contient forcément un aspect observatoire : En somme, on peut dire que l’observation “montre” et que l’expérience “instruit”. Eh bien! en revenant au roman nous voyons également que le romancier est fait d’un observateur et d’un expérimentateur. L’observateur chez lui donne les faits tels qu’il les a observés, pose le point de départ, établit le terrain solide sur lequel vont marcher les personnages et se développer les phénomènes. Puis, l’expérimentateur paraît et institue l’expérience, je veux dire fait mouvoir les personnages dans une histoire particulière, pour y montrer que la succession des faits y sera telle que l’exige le déterminisme des phénomènes mis à l’étude… Le romancier part à la recherche d’une vérité.2 Quelle est donc la vérité que cherche Zola dans sa « fresque d’une famille sous le Second Empire » ? Il met en évidence les paramètres de cette expérience au tout début de sa série, avant même d’entamer le récit. Dans la préface de La Fortune des Rougon, le premier tome du cycle, il écrit : Je tâcherai de trouver et de suivre, en résolvant la double question des tempéraments et des milieux, le fil qui conduit mathématiquement d’un homme à un autre homme. […] Les Rougon-Macquart, le groupe, la famille que je me propose d’étudier, a pour caractéristique le débordement des appétits, le large soulèvement de notre âge, qui se rue aux jouissances. Physiologiquement, ils sont la lente succession des accidents nerveux et sanguins qui se déclarent dans une race, à la suite d’une première lésion organique, et qui déterminent, selon les milieux… toutes les manifestations humaines… dont les produits prennent les noms convenus de vertus et de vices. Historiquement, ils partent du peuple, 1 Émile Zola, “Le Roman expérimental,” http://fr.wikisource.org/wiki/Le_Roman_expérimental. 2 Ibid. "2 ils s’irradient dans toute la société contemporaine… par cette impulsion essentiellement moderne…3 Malgré ses prétentions médicales, il est clair que le roman expérimental de Zola ne vise pas la diagnostique. Au contraire, il inscrit dès la préface son épopée moderniste dans un telos de dégénérescence sociale. Zola dit nettement que l’époque dont il écrit se caractérisera par l’excès et que la famille à son centre souffrira d’une tare héréditaire qui ne fera que s’empirer et se propager au fur et à mesure des vingt livres. Ayant semé les graines du mal dès le commencement, il ne reste qu’à voir éclore leurs fleurs. Toutefois, si le but de Zola ne consiste pas en le déchiffrement du destin de son siècle ou de ses personnages, quel est le dessein derrière l’entreprise d’un si gigantesque programme ? Simplement dit, c’est l’exposition des maux et des maladies qui importe. La vérité dont il est à la recherche est la progression de l’immoralité qui contaminait la société française à travers l’interaction entre des tempéraments voués à l’implosion et des milieux qui sont à la fois leurs produits et leurs sources. Et comme cette exposition se diffusait par le biais de la littérature populaire, nous devons trouver chez Zola un impératif critique. Il exprime clairement cet espoir plutôt grandiose : « Je ne saurais entendre notre littérature naturaliste d’une autre façon. Je n’ai parlé que du roman expérimental, mais je suis fermement convaincu que la méthode, après avoir triomphé dans l’histoire et dans la critique, triomphera partout, au théâtre et même en poésie ».4 N’oublions pas que La Fortune des Rougon n’apparaîtra qu’une année après la chute de Napoléon III, dont la France ressentait encore l’impact. Ceci était le moment propice dont profita Zola afin de dénoncer ce qu’il considérait comme le fléau moral rongeant le fondement éthique de la société française.
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