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Orhan-Pamuk-4.Pdf Éditions PÉTRA 12, rue de la Réunion - 75020 PARIS Tél. : 01 43 71 41 30 − Fax : 01 43 70 62 25 Site : http://www.editionspetra.fr Courriel : [email protected] © Pétra, septembre 2017 ISBN : 978-2-84743-187-2 ISSN : 2115-0036 Orhan Pamuk et la littérature mondiale Élise Duclos Littérature comparée / Histoire et Critique Collection dirigée par Timour Muhidine, Catherine Pierre, Lionel Richard et Pierre Rivas Une série d’ouvrages en français sur des auteurs étrangers, des mouvements ou tendances littéraires aux implications dépassant les frontières nationales et sur leur fortune diverse dans le monde. Privilégiant les apports de toutes les sciences dites humaines, de l’anthropologie à la sociologie, à la psychanalyse, donner ainsi audience à des études évitant une surcharge de spécialisation, visant à toucher le public le plus large, mais sans aliéner la rigueur des analyses, et rendant clairement perceptible à travers les œuvres invoquées, au-delà de leur contexte national et régional, la circulation entre les genres artistiques, les modes d’expression, les formes esthétiques, les courants d’idées, les civilisations. OUVRAGES PARUS Hans Hartje (dir.), Heinrich Mann. Le Roman d’Henri IV et les relations d’amitié avec Félix Bertaux, 2010. Michel Bozdemir et Timour Muhidine (dir.), Nazim Hikmet, Héritage et modernité, 2010. Anibal Frias, Fernando Pessoa et le Quint-Empire de l’amour, quête du désir et alter sexualité, préface de R. Bréchon, 2012. Elisabeth Godfrid, Pessoa, le passant intégral, préface de R. Bréchon, 2012. Éric Leroy du Cardonnoy (dir.), Cités imaginaires, 2013. Leyla Perrone-Moisés, Pessoa, le sujet éclaté, préface de Eduardo Lourenço, postface de Patrick Quillier, 2014. Clémence Scalbert-Yücel, Engagement, langue et littérature. Le champ littéraire kurde en Turquie (1980-2000), 2014. Robert Bréchon (dir.), Hommage à Fernando Pessoa. Essais, études, poèmes réunis par Robert Bréchon, 2014. Denise Brahimi, Images du Maghreb dans la littérature, 2014. Maria Graciete Besse, José Saramago et l’Alentejo : entre réalité et fiction, 2015. Maria Luiza Berwanger da Silva, Poésie brésilienne et résonances françaises, 2015. Joao Cezar de Castro Rocha, Littératures latino-américaines et poétique de l’émulation. Littérature des faubourgs du monde ?, 2015. Pierre Rivas, Littérature lusophones au miroir français, 2015 ; 2e édition, 2017. Michel Riaudel, Caramuru, un héros brésilien entre mythe et histoire, 2015 ; 2e édition, 2017. Georges Da Costa, Éthique et esthétique de l’ironie chez José Rodrigues Miguéis, préface de Onésimo Teotónio Almeida, 2016. David Herbert Lawrence, Étude sur Thomas Hardy (introduction, traduction et notes de Sylvain Floc’h), 2016. Denise Brahimi, Regards sur les cinémas du Maghreb, 2016. S. Seza Yılangioğlu (dir.), Voix féminines de la Méditerranée, 2017. Maria Luiza Berwanger da Silva, Nouvelle cartographie poétique du Brésil. L’ici, appel de l’ailleurs, 2017. Denise Brahimi, Qui a créé l’Occident ? XIXe et XXe siècles, 2017. À PARAÎTRE Maria Graciete Besse, Partager les lucioles. Réflexions autour de la littérature portugaise. Littérature comparée / Histoire et Critique Orhan Pamuk et la littérature mondiale Élise Duclos Éditions PÉTRA 12 rue de la Réunion – 75020 Paris http://www.editionspetra.fr Abréviations utilisées CBF Cevdet Bey et ses fils CBO Cevdet Bey ve oğulları MS La maison du silence SE Sessiz Ev CB Le château blanc BK Beyaz Kale LN Le livre noir KK Kara Kitap VN La vie nouvelle YH Yeni Hayat MNER Mon nom est Rouge BAK Benim adım kırmızı MI Le musée de l’Innocence MM Masumiyet müzesi ISV Istanbul, souvenirs d'une ville AC D’autres couleurs ÖR Öteki Renkler: Seçme Yazılar ve Bir Hikâye RNRS Le romancier naïf et le romancier sentimental VP La valise de mon père BB Babamın bavulu MFM « Monsieur Flaubert, c’est moi ! » MFB « Monsieur Flaubert, benim ! » Note sur la prononciation en turc Nous avons, pour les noms propres les plus fréquents, et conformément aux nouvelles normes en vigueur dans la traduction française des textes turcs, conservé l’orthographe turque. Si le turc s’écrit avec l’alphabet latin, quelques lettres sont différentes : c se prononce « dj » ç se prononce « tch » s se prononce « ss » ş se prononce « ch » g se prononce « gu » ğ mou, allonge la voyelle précédente ı se prononce « eu » ü se prononce « u » u se prononce « ou » À Vincent et Pierre IIIntroductionIntroduction « Orhan Pamuk » est aujourd’hui pour le lecteur un nom familier de la République mondiale des lettres1, que l’on range aux côtés de Gabriel Garcia Marquez, Umberto Eco, Salman Rushdie ou Haruki Murakami sur les rayonnages de la bibliothèque mondiale. Bien installé dans l’actualité culturelle et littéraire européenne, son nom revient très régulièrement, au sujet de nouvelles publications, pour des événements culturels, mais aussi dans la presse qui le sollicite souvent, un peu malgré lui, pour commenter l’actualité de son pays. En France, il publie en cette rentrée 2017 son neuvième roman, Cette chose étrange en moi2, et L’Herne lui consacre un numéro. Le film Innocence of Memories est projeté au Centre Georges Pompidou en 2016 dans le cadre du festival Cinéma du Réel, Neige est mis en scène la même année à Hambourg et au Théâtre des Quartiers d’Ivry, le Somerset House de Londres accueille quelques vitrines de son Musée de l’Innocence stambouliote. Figure familière de notre paysage littéraire, invité régulier des grandes institutions culturelles, bien connu du public, Pamuk en paraîtrait presque un auteur occidental. Cet effet de familiarité est aussi construit par ses textes : ses romans ne cessent de convoquer, de manière plus ou moins explicite, la littérature européenne et occidentale. Engagés avec elle dans un dialogue permanent, ils affichent une intertextualité massive et appuyée, que l’on lise La Vie nouvelle comme une réécriture de la Vita nuova de Dante, Le Livre noir comme une réécriture d’Albertine disparue, Neige comme la réécriture des Démons… De surcroît, dans ses déclarations, interviews et essais, il ne cesse de renouveler sa déférence et son admiration pour les écrivains occidentaux, Montaigne, Flaubert, Thomas Mann, Proust, Dostoïevski, et en particulier pour les grands maîtres du roman moderne. Autrement dit, il ne cesse de se revendiquer 1 Pascale CASANOVA, La République mondiale des lettres [1999], Paris, Le Seuil, 2008. 2 « Kafamda Bir Tuhaflık », publié en Turquie en 2014. Le roman suivant, La Femme aux cheveux rouges (« Kırmızı Saçlı Kadın ») est publié en Turquie en 2016. lecteur de la littérature européenne et occidentale et de s’affilier au canon de la littérature mondiale. Sa notoriété mondiale, son succès universitaire et public en feraient presque oublier qu’il vient des confins de l’univers littéraire, et que sa trajectoire n’est rien moins que « naturelle » ; elle est même hors norme pour un écrivain turc. Jamais un auteur de ce pays n’aura atteint un tel niveau de reconnaissance et de consécration dans la littérature mondiale. Deux auteurs turcs avant lui s’étaient fait connaître en dehors de la Turquie : Nâzım Hikmet le poète, et le romancier Yaşar Kemal à qui certains auraient voulu voir attribué le prix Nobel, en Turquie, plutôt qu’à Pamuk. Mais ni Hikmet ni Kemal n’ont obtenu le prix de l’Académie suédoise et ils n’ont pas le statut d’« auteur globalisé » qui caractérise Pamuk. Mettre en relation Pamuk avec la littérature mondiale, c’est le situer dans l’espace unifié, hiérarchique et inégal de la « république mondiale des lettres », mais aussi examiner son rapport à un corpus on ne peut plus légitimé, le canon de la littérature mondiale qui est, comme on le sait, – et Pamuk au premier chef1 – éminemment occidental. L’enquête sur le phénomène Pamuk fait naître deux séries de questionements qui épousent les contours de ces deux acceptions de la littérature mondiale. Tout d’abord, comment un auteur, issu d’un champ littéraire très peu reconnu au niveau international, écrivant dans une langue à très faible pénétration sur le marché occidental, venu des « faubourgs de l’histoire », parvient-il à gagner le centre du système littéraire, à accumuler distinctions, prix honorifiques, et à conquérir les places fortes de la reconnaissance littéraire ? Comment rendre compte d’un tel succès, institutionnel et public, en comparaison avec ses parfaits contemporains, Nedim Gürsel (1951) ou Enis Batur (1952), deux auteurs turcs fran- cophiles mais qui ne connaissent pas le même destin littéraire ? Ensuite, que signifie, pour un auteur turc et pour Pamuk en particulier, dans le contexte dans lequel il écrit, et avec ce dont il hérite comme romancier turc, se mettre en relation, d’une manière aussi appuyée et affichée, avec la littérature européenne et occidentale ? Autrement dit, de quoi cette révérence au canon de la littérature mondiale est-elle le nom ? Notre étude reposera sur le postulat selon lequel « la hiérarchie de l’univers littéraire donne forme à la littérature elle-même »2 ; la position 1 Orhan PAMUK, « Note sur Goethe et la littérature mondiale », traduit par Julien Lapeyre de Cabanes, Cahier de L’Herne, Pamuk, Paris, 2017, p. 74 : « La “littérature mondiale” contemporaine, en particulier pour le roman, est avant tout un triomphe de l’Occident. » 2 Pascale CASANOVA, op. cit., p. 69. 12 excentrique d’un auteur et d’une littérature nationale informe l’œuvre, car « [...] être membre d'une patrie déshéritée (au sens littéraire) imprime sa marque non seulement à toute une vie d'écrivain mais peut aussi donner sa forme à toute une œuvre »1, écrit l’auteure de La République mondiale des lettres. Écrire depuis la périphérie turque dans les années 70, dans un pays du Tiers-monde sans grande tradition romanesque, c’est entrer dans le jeu littéraire particulièrement démuni ; mais c’est également hériter d’un certain rapport à la littérature occidentale et au modernisme européen. L’excentricité d’Orhan Pamuk dans la littérature mondiale, la marginalité et la dépendance du champ littéraire turc impriment leur marque sur la poétique romanesque de l’auteur.
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