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Les Postures De Nathalie Sarraute Et De Georges Perec Par Rapport À L'objet Romanesque

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Les Postures De Nathalie Sarraute Et De Georges Perec Par Rapport À L'objet Romanesque Du ready-made au design : les postures de Nathalie Sarraute et de Georges Perec par rapport à l'objet romanesque. Par Laëtitia Desanti Département de langue et littérature françaises Université McGill, Montréal Thèse soumise à lřUniversité McGill en vue de lřobtention du diplôme de Doctorat ès Lettres Juin 2009 © Laëtitia Desanti, 2009 1 RÉSUMÉ Cette thèse vise à définir le statut ainsi que le rôle de lřobjet dans les œuvres romanesques de Nathalie Sarraute et Georges Perec entre les années 1950 et 1980 afin dřen comprendre les ambiguïtés : à force dřêtre décrits, les objets sarrautiens et perecquiens gagnent en abstraction et perdent leurs fonctions habituelles. En effectuant des va et vient entre les deux auteurs, mais aussi des comparaisons avec les objets dans les romans de Balzac, Flaubert, Sartre et dans le nouveau roman, jřexaminerai les prises de position de Sarraute et de Perec par rapport à ces différentes visions de lřobjet pour vérifier si les deux écrivains ont réellement leur propre singularité ou sřils ne peuvent, en définitive, échapper aux questions et aux problématiques soulevées par la phénoménologie et la société de consommation. Contrairement aux travaux se prévalant dřune telle approche, jřai choisi de faire dialoguer le statut de lřobjet romanesque chez Sarraute et chez Perec avec certaines œuvres de lřart moderne et contemporain qui, à partir des ready-made de Duchamp jusquřaux objets design, participe dřune redéfinition du concept dřobjet pouvant relever de la plus grande banalité et du domaine artistique. Cette possibilité quřà lřobjet dřosciller entre deux domaines et de jouer sur cet écart sera inscrite au centre de lřétude. Par là, cette thèse se rapproche dřune posture post- phénoménologique où le statut de lřobjet a désormais plus à voir avec le design et lřère post-industrielle quřavec lřécole du regard. Au-delà des distinctions entre modernité et post-modernité, utilité et esthétique, cette thèse prétend que la représentation de lřobjet romanesque, à lřorigine de jeux, de pièges, de mises en scène invisibles chez Sarraute et chez Perec, va toujours de pair avec un travail 2 des matériaux que le romancier façonne à dessein. Ces matériaux que sont les mots de lřusage commun, au même titre que certains objets banals et quotidiens, sont susceptibles dřêtre transformés en objets esthétiques et peuvent conférer au roman les qualités de lřœuvre dřart. 3 SUMMARY This thesis aims to define the role and status of objects in novels by Nathalie Sarraute and Georges Perec written between 1950 and 1980. This inquiry starts with one clear fact: the more objects are described the more difficult it is to picture them, which leads to a profound change ŕ the ordinary functions and meanings associated with objects are almost lost to the imagination. By comparing Sarraute to Perec, but also to Balzac, Flaubert, Sartre, and the ŖNew Novelŗ authors, I would like to bring to light the positions taken by these two writers in order to ascertain whether Sarraute and Perec offer original representations of objects in literature or whether they are unable to escape from the commonly accepted representations of objects in literature at the time. Such interpretations include the idea that objects can be either explained through phenomenology or the needs of consumer society. Unlike studies which take this latter approach, I compare the status of objects in novels by Sarraute and Perec to several works in modern and contemporary art because of their similarities. From the objects found in Duchampřs ready-made to objects in the world of design, objects belong both to everyday life and art. This polyvalent identity of objects leads to a certain ambiguity, which is reflected in the thesisř bias for a Ŗpost- phenomenologicŗ interpretation of objects, in which the status of objects could be linked more to design in a Ŗpost-industrialŗ era than to part of a movement called Ŗécole du regardŗ by critics in the 1960s. Beyond the distinction traditionally made between modernity and post-modernity, this thesis demonstrates that the representation of objects in the novel is a complex endeavor for the novel and for 4 the object. Through the use of games, narrative Řtraps,ř invisible mise-en-scènes in the selected novels by Sarraute and Perec, the works combine a representation of objects with a fashioning of words to propose a new paradigm for understanding the relationship between subject and object. These Řword-materialsř are as common as the banal objects used in everyday life. They are consequently transformed into aesthetic objects which may confer the qualities of a work of art on the novel. 5 REMERCIEMENTS Mes remerciements les plus chaleureux vont à Gillian Lane-Mercier, ma directrice de thèse, dont les conseils avisés, les patientes relectures et les encouragements indéfectibles mřont accompagnée tout au long de la préparation de cette thèse. Je désire également remercier les professeurs et le personnel du DLLF qui, mřont appuyée dans mes recherches de doctorat et mes démarches administratives et autres. Enfin, jřadresse une pensée toute spéciale à ma famille et à mes amis, qui mřont aidée et apporté leur appui, durant cette aventure. Merci en particulier à Joselle Baril, Renée-Claude Breitenstein, Michel et Marie-Anne Delansaye, Claire Guiard-Marigny, Hélène Hotton, Bei Huang, Marie et François Petillot, Rochelle et Sébastien Puel, qui ont contribué, par leurs relectures et leur soutien technique, à la réalisation de cette thèse. 6 TABLE DES MATIÈRES RÉSUMÉ/ABSTRACT ............................................................................................................. ii/iii REMERCIEMENTS .................................................................................................................... v TABLE DES MATIÈRES ........................................................................................................... vi LISTE DES ABRÉVIATIONS .................................................................................................... x INTRODUCTION ......................................................................................................................... 1 Description du sujet et problématique ............................................................................................ 1 Nouveauté du sujet ........................................................................................................................ 6 Énoncé des hypothèses ................................................................................................................ 17 Description de la méthode ........................................................................................................... 20 Plan de la thèse ........................................................................................................................... 25 CHAPITRE PREMIER - MÉTAMORPHOSES DE L’OBJET AU XXe SIÈCLE : PHILOSOPHIE, ART ET ROMANS DE SARRAUTE ET DE PEREC. ........................................................................................................................................ 29 Introduction ................................................................................................................................ 29 I. Le contexte philosophique et littéraire ....................................................................................... 32 A. Positionnements de Sarraute et de Perec par rapport au roman sartrien.............................. 32 B. Existentialisme et phénoménologie : points communs et différences ................................... 33 C. Prise de distance par rapport à l’existentialisme et la phénoménologie ................................ 37 II. Le statut de l’objet dans l’art et dans le roman sarrautien et perecquien ..................................... 44 A. Singularité de l’objet, reproduction et faux-semblant .......................................................... 44 a. L’objet en question ........................................................................................................ 44 b. Objet de la bêtise et art industriel .................................................................................. 50 c. Reproduction, œuvre d’art, contrefaçon : multiples facettes de l’objet ............................. 57 B. Le vide : un objet à part entière? ....................................................................................... 61 C. De l’objet intentionnel esthétique à l’objet intentionnellement esthétique .......................... 68 Conclusion ................................................................................................................................... 73 CHAPITRE DEUX - SOUPÇON SUR L’OBJET DÉCLENCHEUR DE TROPISMES. .............................................................................................................................. 77 Introduction ................................................................................................................................ 77 I. Place de Nathalie Sarraute au sein de l’avant-garde romanesque ................................................. 80 A. Évolution du roman et avant-garde .................................................................................... 80 7 B. Les transformations du roman ........................................................................................... 88 a. Flaubert le précurseur et l’inauthenticité de l’objet ......................................................... 88 b. Proust et la mémoire de
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