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Information to Users INFORMATION TO USERS This manuscripthas been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dépendent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complété manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographie prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9325544 Figures de la coupure: Une étude de l’oeuvre fictionnelle de Charles Nodier Lowe-Dupas, Hélène Marie, Ph.D. The Ohio State University, 1993 Copyright ©1993 by Lowe-Dupas, Hélène Marie. Ail rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 FIGURES DE LA COUPURE: UNE ETUDE DE L'OEUVRE FICTIONNELLE DE CHARLES NODIER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Hélène Marie Lowe-Dupas, D.E.S.C.A.F., M.A. ***** The Ohio State University 1993 Dissertation Committee: Approved by Micheline Besnard — Christiane Lauefer Charles D. Minahen Adviser Department of French and Italian Copyright by Hélène Lowe-Dupas 1993 Il ne manquoit plus à Breloque pour être investi des droits, privilèges, immunités et exemption de science qui sont attachés au doctorat que l/Approbatur du fameux docteur Abopacataxo, grand logarithmier de l'impénétrable consistoire de Brouillamini. (Charles Nodier, Histoire du Roi de Bohême et de ses sept châteaux) Parole en archipel; découpée en la diversité de ses îles et ainsi faisant surgir la haute mer principale, cette immensité très ancienne et cet inconnu toujours à venir que seule nous désigne l'émergence des terres profondes, infiniment partagées. (Maurice Blanchot, L'Entretien infiniï VITA November 8, 1962 Born - Paris, France 1984............ D.E.S.C.A.F., Ecole Supérieure de Commerce et d'Administration des Entreprises, Nantes, France 1985 M .A., Business Administration, The Ohio State University 1986 M.A., Romance Languages and Literatures, The Ohio SDtate University 1984-1987 and 1987-Present Graduate Teaching Assistant and Lecturer, Department of French and Italian, The Ohio State University FIELD OF STUDY Major Field: French and Italian Studies in French Literature of the Nineteenth Century TABLE OF CONTENTS TABLE DES MATIERES PAGE: VITA................................................ ii ABREVIATIONS....................................... vi INTRODUCTION....................................... 1 1. Place de Charles Nodier dans le inonde littéraire.................................... 1 2. Trouver/Rompre un fil conducteur.......... 12 3. Coupure, discontinuité et fragments....... 21 CHAPITRE I - La naissance, coupure originelle. L'exemple de Moi-même........................ 32 1. Texte de l'interrogation................. 36 2. La coupure originelle — la naissance..... 37 3. Questions d'apparences et.d'identité..... 49 4. La coupure comme pratique romanesque..... 55 5. Déjà la Révolution........................ 63 CHAPITRE II - Révolution et guillotine............ 68 1. La guillotine — prise de position de Nodier........................................ 72 2. Les Souvenirs, épisodes et portraits pour servir à l'histoire de la Révolution et de l'Empire...................................... 76 2.1. Mise en scène: du théâtre au fantasme................................. 76 2.2. Le non-vu.......................... 87 3. Le non-dit. L'exemple de l'Histoire d'Hélène Gillet........................................ 92 4. Fragmentation textuelle: la coupure mise en abyme......................................... 98 iii CHAPITRE III - Séparation - Proscription........... 110 1. Coupure-Séparation........................ 114 2. Face à la coupure, la nature-refuge...... 121 2.1. Nature maternelle.................. 121 2.2. Nature romantique.................. 123 3. Le romantisme noir........................ 128 4. Jeux d'écriture et de lecture. Diverses formes de la fragmentation........................... 137 4.1. Intertexte et paratexte........... 138 4.2. La mise en abyme................... 148 4.3. Symbolique ou sémiotique?......... 153 CHAPITRE IV - Identités fracturées................ 158 1. Division socio-politique.................. 159 2. Mise en scène historico-romantico-noire d'un trouble du sujet tiraillé entre deux identités contraires (Jean Sbocrarï..................... 162 2.1. Jean Sbogar/Lothario............... 162 2.2. Fragmentation géographique......... 168 3. Mise en scène historico-sentimentale d'un sujet divisé (Thérèse Aubertï................ 174 3.1. Identité politique et sociale..... 176 3.2. Nom et prénom...................... 178 3.3. Masculin/féminin.................. 183 4. Les coupures et la liaison - Le fragment et la musique................................... 190 5. Identité textuelle........................ 197 CHAPITRE V - Oppositions, contradictions: les visions nodiériennes de l'amour...................... 203 1. Un discours sentimental.................. 204 2. ... face à un discours libertin.......... 206 3. Oppositions spatio-temporelles........... 215 4. Signification du libertinage (vrai ou faux)......................................... 218 5. La femme, l'inceste, la castration....... 227 CHAPITRE VI - Polyphonie........................... 240 1. Polyphonie dans Le Dernier Banquet des Girondins..................................... 242 1.1. Multiplicité des voix et des genres................................... 245 1.2. La voix de l'auteur................ 253 1.3. Le carnavalesque — des entailles loufoques dans un texte sérieux......... 258 1.3.1. Le rire..................... 261 1.3.2. Les chansons................ 265 1.4. Intertextualité.................... 268 iv 2. Polyphonie dans Histoire du Roi de Bohême et de ses sept châteaux......................... 273 2.1. Narrateur ou narrateurs?........... 275 2.2. Mélange de genres et de textes 277 2.3. Plurilinguisme..................... 281 2.4. Intertextualité: toute littérature est plagiat.................................. 286 2.5. Le rêve polyphonique............... 288 CONCLUSION......................................... 292 BIBLIOGRAPHIE...................................... 303 V ABREVIATIONS Les abréviations utilisées renvoient aux ouvrages suivants de Charles Nodier: C: Contes. Edition de P.-G. Castex, Paris: Garnier, 1961. JS: Jean Sboaar. Texte établi et présenté par J. Sgard et les étudiants du D.E.A. de Poétique de Grenoble, Paris: Champion, 1987. MLC: Mélanges de littérature et de critique. 1820. MM: Moi-même. Texte établi, présenté et annoté par Daniel Sangsue, Paris: Corti, 1985. N: Nouvelles suivies des fantaisies du dériseur sensé, nouvelle édition accompagnée de notes, Paris: Charpentier, 1865. O: Oeuvres de Charles Nodier (ou Oeuvres complètes1) , Paris: Renduel, 1832-1837, 12 volumes. Genève: Slatkine Reprints, 1968. P: Portraits de la révolution et de 1'empire. Préface, bibliographie, chronologie par Jean-Luc Steinmetz, Notes par Jean d'Hendecourt, Paris: Tallandier, 1988. R: Romans. Introduction de René Huyghe, Paris: Vialetay, 1972. R B : Histoire du Roi de Bohême et de ses sept châteaux. Préface d'Hubert Juin. Paris: Plasma, 1979. SEP: Souvenirs, épisodes et portraits pour servir à l'histoire de la Révolution et de l'Empire. Paris: Levasseur, 1831. SJ: Souvenirs de jeunesse suivis de Mademoiselle de Marsan et de la Neuvaine de la Chandeleur, cinquième édition, Paris: Charpentier, 1850. L'appellation Oeuvres ou Oeuvres complètes varie d'un tome à l'autre. INTRODUCTION L'ampleur, la variété, l'ambiguïté et les contradictions de l'oeuvre de Charles Nodier gênent souvent la critique. Au coeur de cette matière abondante et parfois fuyante, j'ai cherché une figure récurrente. 1. Place de Charles Nodier dans le monde littéraire Il a tout étudié, depuis l'entomologie jusqu'à la langue basque. Il peut causer de plain pied avec M. Latreille et M. Guillaume de Humboldt, ce que ni vous ni moi ne pourrions faire... mais comme il a tracé son sillon dans tous les champs de l'intelligence, chacun le connaît par le côté qui le regarde. Et cependant son nom, répété de bouche en bouche, n'a pas aujourd'hui l'éclat qu'il devrait avoir. Il a touché à toutes les questions qui intéressent l'humanité. De l'art, il en a fait en profusion...1 Ainsi est posé le paradoxe Nodier que l'on pourrait résumer en deux mots: grandeur et méconnaissance. Un siècle plus tard, la situation n'a guère changé: Nulle oeuvre en apparence
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