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Métatextualité Et Idée Du Romanesque Dans Les Œuvres De Patrick Chamoiseau, Ken Bugul Et Marie Ndiaye

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Métatextualité Et Idée Du Romanesque Dans Les Œuvres De Patrick Chamoiseau, Ken Bugul Et Marie Ndiaye Métatextualité et idée du romanesque dans les œuvres de Patrick Chamoiseau, Ken Bugul et Marie NDiaye Thèse Morgan Faulkner Doctorat en études littéraires Philosophiæ doctor (Ph.D.) Québec, Canada © Morgan Faulkner, 2014 ii RÉSUMÉ En nous fondant sur six romans de Patrick Chamoiseau, Ken Bugul et Marie NDiaye, cette thèse examine la profondeur de la pratique métatextuelle qui alimente les textes. De ces œuvres et auteurs d‟une grande diversité, la constante repose sur une réflexion sur l‟art du roman au sein de la fiction : pourquoi et comment le commentaire critique s‟articule-t-il ? Quel est son statut dans la fiction ? Quels enjeux pour ces romans qui se regardent fonctionner ? Cette recherche aborde ces questions à travers l‟analyse de romans dont la double réflexion sur la société et la littérature est dense. Ces auteurs martiniquais, sénégalais et français nous amènent à réfléchir sur l‟essence de la fiction, les jeux et enjeux de discours et les implications sociales de leur prise de parole. Le métatexte interroge donc la complexité et le fonctionnement de l‟œuvre et médite sur les aspects principaux de sa littérarité. Toutefois, la critique du roman et du regard de l‟auteur pratiquée dans ces textes contient des visions précises et singulières de l‟apport de la fiction à l‟examen de la société. Les quatre chapitres de la thèse sont guidés par des théories de la sociologie institutionnelle et de l‟analyse discursive. Ce cadre méthodologique permet d‟observer l‟articulation entre le contexte socio-historique extérieur aux romans et les procédés discursifs à l‟intérieur de leurs pages. Des visions du genre romanesque entrent en concurrence dans les champs littéraires antillais, africain et français dans lesquels Chamoiseau, Bugul et NDiaye participent. De même, ces auteurs développent une idée du roman au sein de leurs œuvres de fiction. Cette articulation, rendue possible par une pratique autoréflexive du roman, montre la prépondérance dans leurs œuvres de l‟hybridité générique, de la pluralité (de discours, de savoirs et de points de vue), de l‟opacité, de l‟ambivalence et de la conscience critique du texte et de ses procédés. Cette thèse montre en quoi, pour Chamoiseau, Bugul et NDiaye, l‟histoire du roman est inséparable d‟une enquête sur l‟auteur, l‟écriture, le langage, le référent et le monde des lettres. iii iv ABSTRACT This thesis examines metatextual practices in novels by Patrick Chamoiseau, Ken Bugul and Marie NDiaye. Among the great diversity of their works, a major constant is the reflection on writing and the novel. Why and how is a critical commentary expressed in the novels? What is its status in a work of fiction? What is at stake in these novels that observe their own functions and practices? These questions are answered through the analysis of novels containing a rich reflection on both society and literature. These authors from Martinique, Senegal and France bring the reader to reflect on the essence of fiction, the consequences of discourse and the social implications of their writing. The novel‟s metatext therefore interrogates the complexity and the functioning of the work, as well as the principle aspects of what makes it literature. Furthermore, the critique of the novel and of the author‟s gaze practiced in these texts contains precise and singular visions on the advantages of fiction in the analysis of society. The four chapters of this thesis are guided by theories on institutional sociology and discourse analysis. This methodological framework allows for the observation of the links between the novel‟s socio-historical context and its discursive practices. While competing visions of the novel as a genre populate the Caribbean, African and French literary landscapes, the authors also develop an idea of the novel in their works of fiction. This research examines how the expression of an “idea of the novel” is made possible through self-reflexive practices. It also looks at the preponderance in the texts of generic hybridity, plurality (of discourses, types of knowledge and viewpoints), the opaque, ambivalence and a critical consciousness of the novel and its practices. This thesis demonstrates how, for Chamoiseau, Bugul et NDiaye, the novel‟s story is inseparable from an inquiry into language, writing, the author, the referent and the literary world. v vi TABLE DES MATIÈRES RÉSUMÉ ..................................................................................................................................... iii ABSTRACT .................................................................................................................................. v TABLE DES MATIÈRES .......................................................................................................... vii ABRÉVIATIONS ........................................................................................................................ ix INTRODUCTION GÉNÉRALE .................................................................................................. 1 1. Intérêt et motivation du sujet ................................................................................................. 1 2. Corpus, problématique de recherche et hypothèse de travail ................................................ 4 3. État de la question ................................................................................................................. 7 3.1. Sur Patrick Chamoiseau ................................................................................................. 7 3.2. Sur Ken Bugul .............................................................................................................. 12 3.3. Sur Marie NDiaye ........................................................................................................ 15 4. Considérations théoriques et méthodologiques ................................................................... 20 5. Limites et grandes articulations de la recherche ................................................................. 25 CHAPITRE 1. État des champs littéraires antillais, africain et français ..................................... 29 1. Le champ littéraire antillais : terrain d‟une difficile quête d‟autonomie ............................. 30 1.1. Autonomie et contexte de production .......................................................................... 38 2. Le champ littéraire africain et l‟affranchissement de l‟idéologie coloniale ........................ 43 3. Le champ littéraire français et la lutte des définitions du romanesque ............................... 54 3.1. Le nouveau roman ........................................................................................................ 57 3.2. Entre fiction critique et écriture du réel : la littérature française contemporaine ......... 60 CHAPITRE 2. Trajectoires de Patrick Chamoiseau, Ken Bugul et Marie NDiaye .................... 69 1. Trajectoire de Patrick Chamoiseau ..................................................................................... 69 1.1. Dispositions .................................................................................................................. 69 1.2. Positions ....................................................................................................................... 85 1.3. Prises de position.......................................................................................................... 89 2. Trajectoire de Ken Bugul .................................................................................................. 103 2.1. Dispositions ................................................................................................................ 103 2.2. Positions ..................................................................................................................... 114 2.3. Prises de position........................................................................................................ 116 3. Trajectoire de Marie NDiaye ............................................................................................ 128 3.1. Dispositions ................................................................................................................ 128 3.2. Positions ..................................................................................................................... 146 3.3. Prises de position........................................................................................................ 148 CHAPITRE 3. Procédés et fonctions du métatexte................................................................... 163 vii 1. Les procédés métatextuels ................................................................................................. 165 1.1. L‟auteur : sujet et objet d‟analyse .............................................................................. 165 1.2. L‟écriture en question ................................................................................................. 172 1.3. Le langage en question ............................................................................................... 185 1.4. La lecture en question ................................................................................................. 191 1.5. Le référent en question ............................................................................................... 198 1.6. La littérature en question : intertexte, parodie et institution littéraire ........................ 202 1.7. Conclusion .................................................................................................................
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