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Roman De L'artiste Et Valeurs Chez George Sand Par Lara Popic Thèse

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Roman De L'artiste Et Valeurs Chez George Sand Par Lara Popic Thèse Roman de l’Artiste et Valeurs chez George Sand par Lara Popic Thèse présentée en vue de l’obtention du diplôme de Doctorat en philosophie Département d’Études françaises Université de Toronto © Lara Popic 2016 Roman de l’Artiste et Valeurs chez George Sand Lara Popic Diplôme de doctorat en philosophie Département d’Études françaises Université de Toronto 2016 Résumé Dans cette thèse nous examinons le Künstlerroman (le roman de l’artiste) de George Sand en tant que lieu d’un investissement intellectuel complexe qui permet à la romancière à la fois de résoudre une crise identitaire, causée par le statut problématique de femme auteur à son époque, et de mettre en place une axiologie provocatrice qui déstabilise les étalons esthétiques, romanesques et socioculturels contemporains. Nous démontrons, dans un premier temps, comment l’exploitation des structures et des topoï du Künstlerroman dans Lettres d’un voyageur rend possible une représentation (dans la culture) de la Bildung au féminin, phénomène réputé difficile, même impossible dans la littérature du XIXe siècle. Dans un deuxième temps, nous examinons les notions, importantes pour le discours esthétique romantique, de l’idéal, de l’interprétation artistique, telles que les réfracte le Künstlerroman de Sand en les juxtaposant avec la réflexion sur le statut social de l’artiste (de la femme artiste). Une analyse de l’effet-valeur qui se dégage de plusieurs récits représentatifs sandiens (Les maîtres mosaïstes, Pauline, Consuelo, Les maîtres sonneurs) démontre comment la figure de l’artiste, figure créatrice s’il en est une, est utilisée pour produire des récits où de nouvelles significations culturelles apparaissent, de nouvelles relations normatives se forment. Traversé par l’Histoire, mais aspirant à laisser sa propre marque sur elle, le roman de l’artiste sandien met en avant les figures inexistantes dans le roman de l’artiste de ses contemporains : les femmes génies, les paysans artistes, tout en célébrant le savoir-faire des artisans. Au fil de notre étude, nous constatons que son Künstlerroman apporte d’importantes innovations au genre et à celui du ii Bildungsroman, tandis que la romancière supplée à une idéologie romantique de la sacralisation de l’Art et de l’Artiste, tout en valorisant à l’extrême ces deux notions, à l’instar de son époque, ce qu’on pourrait appeler la sécularisation de l’art et de l’artiste. iii George Sand’s Artist Novel: Art and Social Change Abstract In this thesis we examine George Sand’s Künstlereroman (Artist novel) as a locus of a complex intellectual investment that enabled the author both to resolve an identity crisis caused by the problematic status of the woman author of her times and to establish an axiology that challenged and destabilized aesthetic, literary and sociocultural norms of the period. We first show how the usage of structure and topoï of the Künstlerroman in Lettres d’un voyageur make it possible to represent in culture a feminine Bildung, a phenomenon which critics found difficult if not impossible to occur in nineteenth century literature. Next, we examine critical notions of Romantic aesthetic discourse such as the Ideal or artistic interpretation as refracted in Sand’s Künstlerroman that juxtaposes them with the reflections on the social status of the artist (of the woman artist). Our analysis of the value-effect produced in a number of the author’s representative novels (Les maîtres mosaïstes, Pauline, Consuelo, Les maîtres sonneurs) illustrate the way the artist, a creative character if ever there was one, is used to produce narratives with new cultural significations, where new normative relations appear. Imbued in History but also aspiring to shape it, Sand’s artist novel features figures unimagined in those of her contemporaries: woman genius, peasant artists, while also celebrating artisans and their skills. In the course of our study we noted that her Künstlerroman introduced major innovations in the genre and to that of the Bildungsroman, for while extolling the two notions of Art and the Artist, sacralised by the dominant Romantic ideology of her times, Sand advocated what I would call the secularization of art and the artist. iv Remerciements Cette thèse est dédiée à mes parents. Sans leur amour et leurs soins affectueux ce travail n’aurait pas été possible. J’aimerais exprimer ma profonde gratitude à mon directeur de thèse, professeur Pascal Michelucci, qui était tout au long de ma trajectoire universitaire à Toronto un appui et un exemple. Il a suivi avec une attention soutenue chaque étape de ce travail et a veillé à son achèvement par ses conseils et ses encouragements infaillibles. Mes vifs remerciements vont aux professeurs Barbara Havercroft et Roland Le Huenen dont le soutien m’a été précieux et dont les travaux ont nourri ma thèse. L’érudition du professeur Le Huenen était une inspiration, ses commentaires ont affiné ma réflexion. J’ai trouvé en professeure Havercroft une lectrice attentive dès l’origine de ce projet, ses conseils avisés m’ont guidée de chapitre en chapitre… Je tiens également à remercier Monique Lecerf, André Tremblay, Marjorie Rolando, Danièle Issa-Sayegh, Linda Lamisong, Nehad Ghaly et Dale Gebhardt. J’ai toujours apprécié leur gentillesse, leurs sourires. Merci enfin à mes collègues et amis du Département d’Études françaises : Yushna, Vincent, Marie-Thérèse, Richard, Nicholas, Mathilde, Ruth-Ellen et Caroline. Je garde un souvenir affectueux de la professeure Nicole Mozet qui a invité dans son appartement parisien une étudiante novice que j’étais en 2012. Je n’oublierais jamais notre conversation ni sa générosité. Last but not least, merci à mon partenaire sans qui rien ne serait pareil et à ma fille Anaïs George qui a amené un bonheur inconnu pour moi. Sa présence a éclairé les derniers jours de la rédaction de cette thèse. v Avertissement Sur les noms propres Le nom complet des critiques mentionnés n’apparaît qu’une fois. Le prénom est ensuite réduit à l’initiale sur le modèle : Nicole Mozet, N. Mozet. Lorsqu’un nom apparaît pour la première fois dans une note en bas de page, il est répété au complet lors de sa première figuration dans le corps du texte. Les citations dans les exergues, ainsi que les indications des ouvrages cités comportent uniquement les noms des auteurs, suivis par l’année de publication et la pagination sur le modèle : (Mozet, 1997 : 5). Sur les citations Les ouvrages critiques en anglais sont cités en anglais. Dans les rares cas où nous traduisons certains formulations ou concepts en français, les traductions sont les nôtres et les citations originales apparaissent en notes en bas de page. vi Table des matières RÉSUMÉ ..........................................................................................................................................II ABSTRACT......................................................................................................................................IV REMERCIEMENTS ........................................................................................................................... V AVERTISSEMENT ...........................................................................................................................VI TABLE DES MATIÈRES ..................................................................................................................VII LISTE DES ABRÉVIATIONS DES OUVRAGES DE GEORGE SAND ...................................................... X INTRODUCTION. LE KÜNSTLERROMAN DANS L’ŒUVRE DE GEORGE SAND .................................. 1 Le versant intime...................................................................................................................... 3 Le versant fictif........................................................................................................................ 6 Femme auteur au XIXe siècle et valeurs.................................................................................. 8 Organisation de la thèse et méthode d’analyse ...................................................................... 15 PREMIÈRE PARTIE L’ARTISTE ROMANTIQUE, LE BILDUNGSROMAN ET LE KÜNSTLERROMAN................................... 24 CHAPITRE I. L'ARTISTE ROMANTIQUE ....................................................................................... 25 La femme artiste .................................................................................................................... 28 George Sand : le pseudonyme ou l’invention de soi en artiste.......................................................32 Le Bildungsroman : cadre historique et caractéristiques du genre ........................................ 34 La notion de Bildung.......................................................................................................................34 Les discours théoriques sur le Bildungsroman ...................................................................... 38 Rapport dynamique entre l’homme et le monde .............................................................................41 Le Bildungsroman en France..........................................................................................................48 Les modèles français.......................................................................................................................50 Le Bildungsroman et le genre sexuel..............................................................................................52 Le Künstlerroman .................................................................................................................
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