Hanitibat Lecter and T11ze Cannibat Myth in Twentieth-Century Western Literature De Kathryn A

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Hanitibat Lecter and T11ze Cannibat Myth in Twentieth-Century Western Literature De Kathryn A I Université de Montréal Picking Brains Hanitibat Lecter and t11ze Cannibat Myth in Twentieth-Century Western Literature de Kathryn A. Radford Département de littérature comparée Faculté d’études supérieures Thèse présentée à la faculte d’études supérieures En vue de l’obtention du grade de Philosophiae Doctor (Ph.D.) En littérature comparée et générale Octobre 2003 ©KatÏtryit A. Radford, 2003 )LJ u5f Université de Montréal Direction des biblîothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de celle thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. Neither the whole thesis or dissertation, nor substantial extracts from it, may be printed or otherwise reproduced without the author’s permission. In compliance with the Canadian Privacy Act some supporting forms, contact information or signatures may have been removed from the document. While this may affect the document page count, it does not represent any loss of content from the document. 11 Université de Montréal Faculté d’études supérieures Cette thèse intitulée: Picking Brains Hannibal Lecter anti the Cannibal Myth in Twentieth-Century Western Literature presentéepar: Kathryn A. Radford 111 Sommaire littérature et Cette thèse présente l’anthropophage tel que vu dans un corpus tiré de la en consideration est du cinéma occidentaux du )OCième siècle. L’oeuvre prise surtout l’acte cannibale se la trilogie de l’écrivain américain, Thomas Harris. On admet que et Hannibal. trouve dans des romans et des films tels que Le silence des agneaux de manière Cependant nous constatons que même si cet acte était perçu aujourd’hui dépend de la légèrement plus directe qu’au siècle précédant, sa compréhension transmis et compétence du lecteur ou du spectateur dans le décodage des messages et dans les films de des formes représentées dans la trilogie de Thomas Harris à l’acte réel Jonathan Demme et Ridley Scott.. Il semble y avoir un retour Cependant la d’homophagie et non pas à une répétition des métaphores usées. époque ou la présence du cannibale moderne pouvait paraître paradoxale dans une avec le XlXième menace du cannibalisme demeure minime surtout en comparaison siècle. Nous nous demandons alors pourquoi le cannibale aujourd’hui? tant que schéma Dès lors on s’est proposé de montrer comment un mythe social en des éléments cognitif se constitue par le biais de mythopoièmes, c’est-à-dire, médias. Par le évocateurs qui surgissent et se recyclent à travers les oeuvres et les les éléments truchement de ces mythopaièmes le lecteur est capable cPassernbler vu dans le corpus. disparates du cannibale moderne et mythique que nous avons sous-jacente de Soulignons que le mythe de l’anthropophage serait une source cannibale. mythopoiemes susceptibles de se transformer en chaîne métaphorique est le rôle symbolique de Dans la thèse les questions suivantes sont abordées Quel aujourd’hui ? Plusieurs Ï ‘anthropophage moderne ? Quelle est sa pertinence problèmes dans notre réponses restent dans l’air du temps et mettent à nu certains génétique du vivant. société, y compris la crise de la vache folle et la manipulation occidentale du Mots clés cannibale, anthropophagie, mythe moderne; littérature vingtième siècle, Thomas Harris iii-a Abstract This study considers the cannibal in twentieth-century Western literature and cinema within a broader issue—meaning through myth. By looking at rnvth within the meaning process, we seek to explain how the cannibal operates and endures in the twenty-first ccntuiy. We focus on myth and twentieth-century Western literature or cinema. Myth may be seen within a signifying process used in trying to make sense of our world. Unlike metaphor or trope, this social myth could be considered a cognitive schema. The defmition used herein stems from such renowned sources as frye, Barthes, Gusdorf, Lévi-Strauss, Cassfrer and Kolkowski. Inspired by structural Iinguistics and semiotics, this rnyth is made up ofunits called mythopoiemes. Our ncologism, mythopoierne, is a reference used to generate the myth or mythic character in a work. By decoding these units. a reader can construct a cannibal like Hannibal Lecter, American author Thomas Harris’character, analyzed herein using mythopoiernes. The anthropophagic myth thus underlies the mythopoiemes which may also yield cannibalistic metaphors, for example. Harris’ trilogy—Red Dragon, The Silence of the Larnbs. and Hannibat, including Jonathan Demme’s and Ridley Scott’s screen adaptations—constitutes our core corpus, which is contextualized with selected nineteenth-centuiy canonic works and a general contemporary corpus. We analyze the slight yet significant shift in the cannibal’s presence, despite the paradox of littie threat and tradition of ambiguous representation. Our research revealed a trend and a semantic scale of the cannibalized body part. Overali, we suggest revitalization of the anthropophagic myth through the reat act in Ïiterature, cinema and the mass media may explain the anthropophage’s semantic capacity. This thesis raises the following questions: What is the symbolic rote of the modem anthropophage and what is his retevance now? One conclusion is that selection of the brain may be an indicator of current concems in Western socicty, e.g., brain death, Mad Cow, or the organ transplants, humanity itself ... We also conclude that cannibalism anthropophagic mvth Iocalized at the brain applies the maximum of maximums in fear. Key Words: cannibal, anthropophage, modem mytÏi contemporary Western literature, Thomas Harris iv Résumé D’aucuns diraient qu’au courant du vingtième siècle la métaphore et le motif du cannibale ne font plus d’effet, ne fournissant qu’une toile de fond d’une caricature ou le sourire dans un jeu de mots quelque peu usé. Il est vrai que le cannibale se trouve surtout dans des genres plutôt marginaux, tels que la parodie ou le récit d’horreur et cela depuis au moins cinquante ans. Cependant si on fouille, en approfondissant l’approche du problème, un écart entre l’anthropophage littéraire d’hier et celui d’aujourd’hui, il s’avère que nous ne sommes plus au tournant du )UX siècle. Un aperçu de quelques extraits du corpus le confirme. On s’aperçoit de la différence entre le cannibale de Jules Verne ou de Herman Melville et celui de Thomas Harris. Certes, c’est une différence fine mais tout aussi révélatrice. Ainsi rencontrons-nous l’anthropophage dans le ‘mainstream’, même dans des films de Hollywood. Comment s’explique cette présence honorée de plusieurs Oscars? Afin de mieux cerner l’anthropophage moderne et comprendre sa présence paradoxale, nous avons adopté une perspective synthétisante qui s’inspire d’auteurs reconnus aussi importants que Barthes, Lévi-Strauss, Cassirer, Eliade, Gusdorf Kolakowski et Frye pour définir un mythe moderne en tant que mythe social ou schéma cognitif Ainsi le cannibale fait partie intégrante d’un processus de signification plus vaste qui pourrait comprendre la métaphore ou même d’autres figures de style. L’essentiel est d’y voir le mythe en tant que source sous-jacente d’un trope, d’une métaphore, d’un personnage ou d’un film. De plus, nous insistons sur le retour à lacte dans la revitalisation du mythe car sans ce processus il n’y aurait point de revivification du cannibale et, dans des cas pareils, la métaphore ou le trope ne seraient plus très efficaces. Au cours de nos recherches nous avons détecté une tendance naissante ainsi qu’une échelle sémantique basée sur l’organe cannibalisé. En passant, la découverte d’une partie du corps humain fait déclencher une avalanche d’accusations de meurtre et même de cannibalisme surtout lorsqu’il est question de cultes sataniques, d’enlèvements ou d’assassinats commis par la mafia ou par des tueurs en série. Ainsi arrive-t-on à une deuxième question encore plus précise : Qu’est-ce que manger une partie du corps précise dans te mythe cannibale révèle sur ta société occidentale contemporaine? V Au chapitre IV nous montrons comment le coeur «chemine» symboliquement sous forme d’illustration en tant qu’organe privilégié, objet de valeur, représenté et même cannibalisé afin de démontrer les étapes parcourues par le cerveau au courant du dernier siècle et demi. Nous arrivons à l’état du coeur sacré, cerveau séculier, selon l’expression éloquente du chercheur Scott Manning Stevens. Bien que nous ne précisions pas la manière dont la conscience s’est installée au cerveau, nous démontrons qu’en tant qu’image le cerveau paraît séculier et non pas sacralisé. Différent du coeur et même du crâne, le cerveau n’a pas d’histoire de sacralisation en Occident. L’iconographie populaire employait des ‘mappings’ phrénologiques au cours du xvlIIme et )UXme siècles tandis qu’aujourd’hui on y retrouve des lobes en tant qu’amalgame ou cerebellum stylisé symbolisant l’intelligence, le savoir et surtout la mémoire.
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