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Ce Document Est Le Fruit D'un Long Travail Approuvé Par Le Jury De Soutenance Et Mis À Disposition De L'ensemble De La Communauté Universitaire Élargie AVERTISSEMENT Ce document est le fruit d'un long travail approuvé par le jury de soutenance et mis à disposition de l'ensemble de la communauté universitaire élargie. Il est soumis à la propriété intellectuelle de l'auteur. Ceci implique une obligation de citation et de référencement lors de l’utilisation de ce document. D'autre part, toute contrefaçon, plagiat, reproduction illicite encourt une poursuite pénale. Contact : [email protected] LIENS Code de la Propriété Intellectuelle. articles L 122. 4 Code de la Propriété Intellectuelle. articles L 335.2- L 335.10 http://www.cfcopies.com/V2/leg/leg_droi.php http://www.culture.gouv.fr/culture/infos-pratiques/droits/protection.htm UNIVERSITÉ NANCY 2 ÉCOLE DOCTORALE « LANGAGES, TEMPS, SOCIÉTÉS » U. F. R. DE LETTRES LES LIVRES DE DIALOGUE DE GUILLAUME APOLLINAIREAPOLLINAIRE,,,, UN MOMENT DANS L’HISTOIRE DU LIVRE VOLUME I Par Stéphanie DÉPOISSE Thèse de Doctorat de Lettres modernes dirigée par le Professeur Pierre GILLE Soutenue le 12 mars 2009 Jury composé de : Mme Lise SABOURIN, Professeur à l’Université Nancy 2 M. Pierre CAIZERGUES, Professeur à l’Université Montpellier III – Paul Valéry M. Daniel DELBREIL, Professeur à l’Université Paris III – Sorbonne Nouvelle M. Pierre GILLE, Professeur à l’Université Nancy 2 M. Yves PEYRÉ, Directeur de la Bibliothèque Sainte-Geneviève, Paris SOMMAIRE REMERCIEMENTSREMERCIEMENTS____________________________________________________________________________________________________________________________________________________ 444 LISTE DES ABRÉVIATIONS ___________________________________________________________________________________ ________________________________ ___________________ 555 INTRODUCTION ___________________________________________________________________________________ _________________________________ 666 PARTIE I : LE LIVRE ILLUSTRÉ AU XIX° SIÈCLE ET LA NAISSANCE DU LIVRE DE DIALOGUE _______________________________________________________________________________________________________________________________________________________________________ _______ 121212 I. RAPPEL HISTORIQUE ET SOCIOLOGIQUE : L’IMPRIL’IMPRIMÉMÉ ET LA BOURGEOISIE, UNE RELATION PRIVILÉGIÉE __________________________________________________________________________________ ________________________________ __________________ 121212 1. Le rôle du livre dans l’émergence d’une nouvelle classe sociale, la bourgeoisie ___13 a. L’invention de l’imprimerie __________________________________________ 14 b. L’imprimé comme moyen de communication ____________________________ 16 2. Le livre aux mains de la bourgeoisie ::: les oeuvres des Lumières ou la diffusion de l’idée d’un nouvel ordre social. ___________________________________________19 a. Les valeurs des Lumières ou l’idée d’un nouvel ordre social _________________ 19 * La raison, le progrès, la quête du bonheur, des valeurs communes aux Lumières et à la bourgeoisie industrieuse _______________________________________ 19 * Le livre, interface entre philosophie et réalité ___________________________ 22 b. La production littéraire des Lumières ou la reconnaissance de la bourgeoisie industrieuse. ________________________________________________________ 26 c. La remise en cause de la légitimité du pouvoir religieux et monarchique. ______ 29 3. 1789 ou lorsque la bourgeoisie gagne le privilège de l’écrit. __________________31 a. L’imprimé sous contrôle _____________________________________________ 32 * Le contrôle des manuscrits et des imprimeurs __________________________ 32 * La surveillance des diffuseurs _______________________________________ 33 * L’œuvre des Lumières difficilement accessible à tous les lecteurs ___________ 35 b. La perte du contrôle des textes et des idées ______________________________ 37 * Le livre clandestin _________________________________________________ 37 * Le rôle des colporteurs _____________________________________________ 38 * La lecture à haute voix ou la propagation des idées des Lumières dans les campagnes ________________________________________________________ 39 c. La Révolution française ou lorsque l’imprimé descend dans la rue ___________ 40 * L’imprimé au cœur de la bataille entre révolutionnaires et contre- révolutionnaires ___________________________________________________ 40 * Le placard sous la Révolution ________________________________________ 43 II. L’IMPRIMÉ ET L’IMAGE, PILIERS DE LA SOCIÉTÉ BOURGEOISEBOURGEOISE ________________ ________________ 464646 1. La démocratisation de l’imprimé ________________________________________46 a. Le développement de l’industrie de l’imprimerie et l’accès à l’information _____ 46 b. L’accès aux livres __________________________________________________ 48 c. « Quand le peuple est dit souverain, il est décent que le souverain sache lire » __ 50 d. L’apparition de nouveaux lectorats ____________________________________ 52 * Les enfants ______________________________________________________ 52 * Les femmes ______________________________________________________ 53 * Les ouvriers ______________________________________________________ 55 e. Une bourgeoisie humaniste ? _________________________________________ 56 2. L’image, symbole de la société bourgeoise et moyen de communication idéalidéal_____59 a. Les Expositions Universelles ou la représentation de la réussite selon la classe dirigeante __________________________________________________________ 59 1 * 1878, pour faire oublier la défaite de Sedan et le massacre de la Commune ___ 59 * 1889, l’image d’une société tournée vers l’avenir________________________ 63 * L’Exposition Universelle de 1900 ou le triomphe éclatant des valeurs bourgeoises _________________________________________________________________ 65 b. Des images pour l’éducation et le commerce _____________________________ 68 * Du musée à l’œuvre d’art, l’image pédagogique _________________________ 69 * L’affiche, support commercial de la société bourgeoise ___________________ 71 c. Intégrer l’image dans l’imprimé _______________________________________ 77 * De l’image à l’illustration ___________________________________________ 78 * L’image photographique et son intégration dans le livre __________________ 81 III. LE LIVRE ILLUSTRÉ AU XIX° SIÈCLE : DU BIEN DE CONSOMMATION AU LIVRE DE DIALOGUE ___________________________________________________________________________________ _____________________________________ 878787 1. Panorama du marché du livre illustré populaire à la fin du XIX° siècle : le culte de l’imagel’image_______________________________________________________________87 a. Les romans ________________________________________________________ 87 b. Les ouvrages de vulgarisation et de connaissance générale _________________ 88 c. Les manuels scolaires et les livres pour la Jeunesse ________________________ 91 2. Le livre de peintre, une réaction à l’industrialisation du livre illustré ___________93 a. Les sociétés de bibliophilie, le berceau du livre de peintre __________________ 94 b. Trois chefs-d’œuvre parmi les livres de peintre __________________________ 96 * Faust illustré par Eugène Delacroix ___________________________________ 96 * Les livres de peintres édités par Ambroise Vollard : Parallèlement et Daphnis et Chloé ____________________________________________________________ 98 3. Le livre de dialogue, né de la rencontre entre un artiste et un poète ___________103 a. Daniel-Henry Kahnweiler et le livre de dialogue ________________________ 103 b. L’Enchanteur pourrissant , Le Bestiaire et Vitam impendere amori , des livres de dialogue ? _________________________________________________________ 105 PARTIE II : L’ENCHANTEUR POURRISSANT , UN PROTOTYPE DU LIVRE DE DIALOGUE. 109 I. L’ENCHANTEUR POURRISSANT OU L’AUTOBIOGRAPHIE LÉGELÉGENDAIRENDAIRE DE WILHELM DE KOSTROWITZKY ET GUILLAUME APOLLINAIRE. __________________________ __________________________ 109 1. Les différents états du texte de L’Enchanteur pourrissant ... ___________________110 a. La Noël funéraire et la suite de Stavelot. _______________________________ 111 b. La parution dans Le Festin d’Ésope . ___________________________________ 113 c. 1909 : L’Enchanteur pourrissant illustré par André Derain. ________________ 114 2. Un aspect légendaire inspiré des vastes lectures de Guillaume Apollinaire. _____115 a. Les lectures de Wilhelm à l’origine de L’Enchanteur pourrissant . ___________ 115 b. Le merveilleux des contes de fées et des romans médiévaux. _______________ 117 c. L’esthétique symboliste dans L’Enchanteur pourrissant . ___________________ 120 * L’ésotérisme. ____________________________________________________ 121 * L’érotisme ______________________________________________________ 127 3. Derrière la légende, l’autobiographie d’un adolescent seul et révolté __________131 a. L’imaginaire de Guillaume Apollinaire ________________________________ 132 b. L’enfant sans père _________________________________________________ 134 c. La révolte contre la foi de son enfance. ________________________________ 136 d. « Les éternités différentes de l’homme et la femme ». _____________________ 139 4. Guillaume Apollinaire, homme et poètepoète___________________________141 a. Vers l’indépendance. _______________________________________________ 141 * Marie Laurencin ou l’autre femme de la vie d’Apollinaire ________________ 141 *La fréquentation de la bohème parisienne _____________________________ 145 b. L’Enchanteur pourrissant ou le signe de la reconnaissance ________________ 146 2 II. GUILLAUME APOLLINAIRE, ANDRÉ DERAIN, DANIELDANIEL----HENRYHENRY
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