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Intrication Textuelle Et Déchiffrement Du Sens Dans L'œuvre De Charlotte

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Intrication Textuelle Et Déchiffrement Du Sens Dans L'œuvre De Charlotte UNIVERSITÉ SORBONNE NOUVELLE – PARIS 3 INSTITUT DU MONDE ANGLOPHONE U. F. R. d'Études Anglophones École Doctorale 514 – EDEAGE « Études Anglophones, Germanophones et Européennes » Équipe d'Accueil 4398 – PRISMES « Langues, Textes, Arts et Cultures du Monde Anglophone » Intrication textuelle et déchiffrement du sens dans l’œuvre de Charlotte Brontë Gaïane HANSER thèse de doctorat « Langue, Textes, Arts et Cultures du Monde Anglophone » sous la direction de M. le Professeur Jean-Pierre NAUGRETTE samedi 8 décembre 2012 Jury : Mme le Professeur Nathalie JAECK (Université Michel de Montaigne – Bordeaux 3) Mme le Professeur Catherine LANONE (Université Sorbonne Nouvelle – Paris 3) M. le Professeur Jean-Pierre NAUGRETTE (Université Sorbonne Nouvelle – Paris 3) Mme le Professeur Nathalie VANFASSE ( Université de Provence – Aix Marseille 1) 1 Résumé. L'enfance des jeunes Brontë a été marquée par leurs jeux littéraires : ils ont créé un monde imaginaire dans lequel s'affrontaient héros réels et fictifs, en consignant leurs aventures dans de minuscules manuscrits. L'étude de ces textes permet d'observer chez Charlotte Brontë le processus de formation d'une écriture dialogique, qui se maintient dans les romans de maturité. Sa nouvelle situation énonciative lorsqu'elle soumet ses écrits au public amène toutefois un changement dans son rapport au lectorat, car ses nouveaux critiques ne dissocient pas dans leur réponse la femme de l'artiste. Ceci se traduit par la construction de deux Lecteurs Modèles, qui se voient chacun attribuer un rôle spécifique au sein d'un même texte. Les narrateurs font appel à la clémence du Lecteur Modèle / Juge, tandis qu'ils sollicitent – parfois simultanément – l'aptitude au déchiffrement du Lecteur Modèle / Interprète. Cette thèse a pour ambition d'identifier et d'analyser les différentes stratégies narratives résultant de cette création textuelle d'un double Lecteur Modèle, ce qui permet dans un second temps d'éclairer le sens des romans. Ces stratégies incluent notamment l'insertion de textes seconds ou de références intertextuelles, ainsi que la sémantisation d'éléments non-textuels, tels que les arts visuels ou les artisanats féminins. Cette intrication de plusieurs objets de déchiffrement crée des espaces d'équivoque et d'indécidabilité, qui doivent alors être investis par le lectorat empirique. Mots clés : études féminines ; Lecteur Modèle ; littérature victorienne ; détournement des normes ; stratégies narratives. Abstract. The Brontës' childhood was informed by their literary games: they created an imaginary world where they staged the confrontations between their heroes, real or fictitious, and which they used as a setting for numerous tales. A close study of these early writings sheds light on the formation, in Charlotte Brontë's work, of a dialogical mode of writing, which remains present throughout her later novels. Her new enunciative situation as she submits her work to the public at large leads to a shift in her perception of her readership: her new critics do not dissociate in her the woman from the writer, and assess her texts accordingly. This results in the creation of two Model Readers, each of whom is given a specific role within the frame of a same text. Brontë's narrators ask for the leniency of the Model Reader / Judge, at the same times as they call upon the Model Reader / Interpretant's aptitude at deciphering signs. This thesis aims at identifying and analysing the narrative strategies resulting from the creation of a double Model Reader, which help understand the meaning of the novels. These strategies include the insertion within the text of secondary texts or intertextual references, as well as the semanticisation of non- textual elements, such as visual arts or accomplishments. This intrication of various cyphers creates a locus of equivocation and undecidability, which must be invested by the empirical readership. Key words: women studies; Model Reader; Victorian literature; emancipatory strategies. 2 Remerciements. Je tiens à remercier Monsieur le Professeur Jean-Pierre Naugrette pour son soutien, ses éclairages et sa patience, tout particulièrement lorsque je n'arrivais pas à conclure. Merci à Arthur qui a suivi l'aventure de ma thèse du début à la fin, m'a soutenue et épaulée, et a encouragé ma monomanie avec une collection de Jane Eyre. Merci à Ariane pour ses conseils avisés et la découverte des cafés- cannelés. Merci à ma famille et mes amis pour leur soutien et leurs encouragements, dans les moments heureux ou difficiles. Merci à tous mes relecteurs, pour leur patience et leurs conseils. 3 Liste des abréviations utilisées. CBJ : Charlotte Brontë; Juvenilia; 1829-1835. London: Penguin Books, 1996 (Penguin Classics). CV : Caroline Vernon, in Tales of Angria. London: Penguin Books, 2006 (Penguin Classics), pp. 323-440. DK : The Duke of Zamorna, in Tales of Angria. London: Penguin Books, 2006 (Penguin Classics), pp. 125-196. E : Emma, a Fragment, in The Professor. London: Everyman’s Library, 1985 (Everyman Classics), pp. 223-243. HH : Henry Hastings, in Tales of Angria. London: Penguin Books, 2006 (Penguin Classics), pp. 197-322. JE : Jane Eyre. London: Penguin Popular Classics, 1994. JJACB : The Juvenilia of Jane Austen and Charlotte Brontë. London: Penguin Books, 1986 (Penguin Classics). LH : Lily Hart, in The Secret. London: Hesperus Press Limited, 2006 (Hesperus Classics), pp. 47-70. ML : Mina Laury, in Tales of Angria. London: Penguin Books, 2006 (Penguin Classics), pp. 3-62. PE : Passing Events, in Five Novelettes. London: The Folio Press, 1971, pp. 31- 82. RHJF : The Roe Head Journal Fragments, in Tales of Angria. London: Penguin Books, 2006 (Penguin Classics), pp. 441- 466. S : Shirley. Oxford: Oxford University Press, 1990 (Oxford World's Classics). SH : Stancliffe's Hotel, in Tales of Angria. London: Penguin Books, 2006 (Penguin Classics), pp. 63-124. TF : The Foundling: A Tale of our Own Times by Captain Tree. London: Hesperus Press Limited, 2004 (Hesperus Classics). TGTAG : Tales of Glass Town, Angria, and Gondal; Selected Writings. Oxford: Oxford University Press, 2010 (Oxford World's Classics). TGD : The Green Dwarf: A Tale of the Perfect Tense. London: Hesperus Press Limited, 2003. TP : The Professor. London: Penguin Popular Classics, 1995. TS : The Secret , in The Secret, London: Hesperus Press Limited, 2006 (Hesperus Classics), pp. 1-46. TSp : The Spell: An Extravaganza. London: Hesperus Press Limited, 2005 (Hesperus Classics). V : Villette. Ware: Wordsworth Edition Limited, 1999. Pour des raisons de lisibilité, les éléments mis en valeur dans les citations sont en caractères gras, ou soulignés lorsqu'il s'agit de faire ressortir un contraste. Ainsi, il n'y aura pas de confusion avec les éléments rehaussés par Charlotte Brontë même, apparaissant en italiques. 4 Liste des illustrations Illustration 1: Manuscrit d'un des Young Men's Magazines ................................34 Illustration 2: Charlotte Brontë's copy of Finden's engraving representing Marian Hume, Zamorna's first wife..................................................................................208 Illustration 3: The last page of Charlotte Brontë's letter to Ellen Nussey of 6 March 1843, including a sketch of herself waving good-by to Ellen across the sea from Belgium.......................................................................................................210 Illustration 4: Illustration de Dame Darcy, in The Illustrated Jane Eyre...........224 Illustration 5: Carte de Verdopolis et Angria .....................................................423 5 When M. Paul dictated the trait on which the essay was to turn, I heard it for the first time; the matter was new to me, and I had no material for its treatment. But I got books, read up the facts, laboriously constructed a skeleton out of the dry bones of the real, and then clothed them, and tried to breathe into them life, and in this last aim I had pleasure. (V 375) 6 Sommaire Première partie : Des narrations structurées par le dialogue. ...............................................................................................24 Chapitre 1 : Les Juvenilia : des récits à quatre mains.............................27 Chapitre 2 : La polarisation des récits....................................................59 Chapitre 3 : Vers une écriture dialogique................................................85 Deuxième partie : L'intrication textuelle comme modalité d'expression dialogique .......................................................116 Chapitre 4 : L'insertion de textes seconds à l'intérieur de la narration.. 119 Chapitre 5 : Jeux palimpsestueux et intertextualité...............................143 Chapitre 6 : Le dialogue entre les différentes langues........................172 Troisième partie : Déchiffrement du corps et initiation du lecteur à l'interprétation......................................................201 Chapitre 7 : La lecture des arts visuels.................................................205 Chapitre 8: Jeux théâtraux et mises en scène........................................246 Chapitre 9 : Déchiffrer le corps vivant..............................................278 Quatrième partie : À la recherche d'une voix féminine.......312 Chapitre 10 : Vers un silence conversationnel ?....................................316 Chapitre 9 : Le chant du cœur...............................................................336 Chapitre 12 : La sémantisation des arts féminins. .................................359 Chapitre 13
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