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(1847-1898). Du Realisme Balzacien a L'oeuvre D'art« Decadente » POETIQUE DE LA MAISON-MUSEE DANS LA SECONDE MOITIE DU DIX-NEUVIEME SIECLE (1847-1898). Du realisme balzacien a l'oeuvre d'art« decadente » (Spine title : Poetique de la maison-musee (1847-1898)) (Thesis format: Monograph) by Bertrand Bourgeois Graduate Program in French A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Graduate Studies The University of Western Ontario London, Ontario, Canada © Bertrand Bourgeois 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-39246-1 Our file Notre reference ISBN: 978-0-494-39246-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada THE UNIVERSITY OF WESTERN ONTARIO FACULTY OF GRADUATE STUDIES CERTIFICATE OF EXAMINATION Supervisor Examiners Dr. Tony Purdy Dr. Clive Thomson Co-Supervisor Dr. Ken McKellar Dr. Jean-Marie Seillan Dr. Jean-Louis Cabanes Dr. Vladimir Tumanov The thesis by Bertrand Bourgeois entitled: POETIQUE DE LA MAISON-MUSEE DANS LA SECONDE MOITIE DU DIX-NEUVIEME SIECLE (1847-1898). Du realisme balzacien a Poeuvre d'art « decadente » is accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Date Chair of the Thesis Examination Board ii Resume et mots-cles Resume : Les travaux de Philippe Hamon, en particulier Expositions: litterature et architecture au XIXs siecle (1989) et Imageries. Litterature et image au XIXs siecle (2001) ont permis de souligner l'importance de la figure museale dans la comprehension de l'esthetique litteraire du xixe siecle. Partant, Dominique Pety a plus specifiquement montre dans Les Goncourt et la collection (2003) comment la notion de « collection privee », pratique fondamentale de la seconde moitie du xixe siecle, permettait de rendre compte de l'esthetique romanesque des Goncourt et de leur fameuse ecriture artiste. Cette these se situe dans le prolongement de ces travaux en se penchant sur le phenomene plus specifique de la « maison-musee » (la transformation de domiciles en musees prives par leur proprietaire), pratique qui se diffuse dans la seconde moitie du xixe siecle et dont le musee Jacquemart-Andre semble constituer le premier exemple francais. La notion theorique d'« heterotopie » definie par Michel Foucault comme un « espace autre » a la fois textuel et architectural permet de rendre compte de la realite de la maison-musee et guide par consequent nos analyses. La these s'interroge en effet sur la representation litteraire de maisons-musees dans differents textes en prose majeurs de la seconde moitie du xixe siecle : Le Cousin Pons de Balzac, Bouvard et Pecuchet de Flaubert, La Maison d'un artiste de Goncourt et A rebours de Huysmans. Elle montre comment le triomphe textuel progressif d'une figure de la maison-musee opaque, hermetique et pleine des fantasmes du personnage- proprietaire, a l'image meme de la maison-musee mise en place par Gustave Moreau pour abriter son oeuvre a la toute fin du siecle, inflechit le realisme romanesque balzacien vers une esthetique « decadente » subjectiviste et anti-naturaliste dont l'hybridite generique iii marque la fin du roman realiste traditionnel en meme temps qu'elle annonce les experimentations litteraires du xxe siecle. Mots-cles: Arts decoratifs, A rebours, Balzac, Bouvard et Pecuchet, collection, decadence, decoration d'interieur, fin-de-siecle, Flaubert, Foucault, Goncourt, heterotopic, Huysmans, Jacquemart-Andre, La Maison d'un artiste, Le Cousin Pons, maison-musee, Moreau, poetique, realisme, subjectivite. IV A mes parents Sylvie et Eric, A ma soeur Laure et mon frere Arnaud A ma grand-mere Lucienne Et a mon oncle et parrain Max. V Remerciements Les remerciements font partie de la rhetorique de la these et fleurent parfois bon la politesse convenue. Je me contenterai ici d'exprimer ma gratitude a ceux que je tiens vraiment a remercier, geste qui se veut la marque de la sincerite profonde de ces quelques mots bien faibles pour dire l'importance que chacune et chacun a eu dans la redaction de cette these, dans les moments les plus joyeux comme dans ceux les plus difficiles. Chers co-directeurs de these Anthony Purdy et Jean-Marie Seillan, merci du plus profond du coeur pour votre soutien indefectible, votre ecoute toujours volontaire et votre lecture attentive qui ont su m'aider a mener a bien cette these et a toujours retrouver la lumiere dans ce chemin parseme de doutes. Aux autres professeurs et personnes dont la generosite intellectuelle et humaine m'a soutenu a differentes etapes de la these, j'adresse egalement un grand merci: Clive Thomson, Ken McKellar, Jean Leclerc, Jeff Tennant et Jean-Louis Cabanes, l'equipe du musee Gustave Moreau et le conservateur du musee Jacquemart-Andre, Nicolas Sainte Fare Garnot. Merci enfin a ma famille et mes amis, dont ces mots ne peuvent rendre compte de l'inestimable soutien : mes parents, mon frere et ma sceur, mes oncles Max et Jean-Luc, mes tantes Martine et Maya, mes amis MikalaT, David et Daniela, Kristen, Allan, Eddie, Marc, Alpan, Kostia, Beoy, Eugene, Jeremy, Mirela, Michael, Robin, trouvez dans ces quelques lignes la preuve que cette these est aussi la votre. Max, un merci tout particulier pour ta sagesse, ta patience et la force de tes encouragements qui n'ont d'egale que ton incroyable modestie. vi Table des matieres Page Certificat d'examen ii Resume et mots-cles iii Dedicace v Remerciements vi Table des matieres vii Liste des illustrations xii Liste des abreviations xiii Introduction generate 1 I. Problematique 1 II. « Decadence » et « litterature decadente » : acquis historiques et critiques 2 III. Cadre theorique general 3 IV. Methodologie litteraire 9 V. Principaux concepts theoriques 11 VI. Corpus 17 VII. Plan 20 VIII. Portee et enjeux generaux 23 Premiere partie : Les premices d'une esthetique de la collection privee 25 Chapitre I: De la maison-musee au texte litteraire 27 Avant-propos : le musee public moderne 27 I. Naissance d'un concept hybride : le musee Jacquemart-Andre 31 1.1. Specificite du concept de maison-musee : la valeur des objets 32 1.2. La mobilite du decor : « la vie etrange des objets » 40 II. Maison-musee et heterotopic 49 II. 1. Juxtaposition d'espaces : le voyage immobile 50 11.2. Heterochronie de la maison-musee : une triple temporalite 53 11.3. La maison-musee comme esthetisation du monde 55 vn III. La maison-musee et le texte 56 III. 1. Musee, maison-musee et portee metapoetique 56 111.2. Le personnage visite une maison-musee 58 111.3. Le personnage compose sa maison-musee 61 111.4. Le personnage est une maison-musee ou le personnage objet de collection 63 111.5. Le texte devient maison-musee 65 Annexe : entretien avec M. Nicolas Sainte-Fare Garnot, conservateur du musee Jacquemart-Andre. 67 Chapitre II: De la collection privee au roman : un realisme balzacien « pre-decadent» ? 82 Avant-Propos : La Comedie Humaine ou le Musee de I 'Homme en societe 82 I. Les limites du projet museal de totalisation de La Comedie Humaine 87 1.1. Un « Balzac pluriel » et fragmentaire 87 1.2. La collection de Pons : d'une lecture marxiste a une lecture textuelle 90 II. Le personnage objet de collection et la collection personnage de roman 95 II. 1. Du personnage-type au personnage objet de collection : naissance de l'anti-heros moderne ? 95 II.2. La collection comme heroine : collection, narration et description 99 III. Collection et realisme « pre-decadent » du « dernier Balzac » ? 105 III. 1. Collection et decadence : cloture spatiale et temporalite cyclique 106 III.2. Trois thematiques « decadentes » du Cousin Pons : monstres, maladie, mort 110 Deuxieme partie : Collections privees romanesques et crise de la representation 115 Chapitre III: Le monstrueux musee de Bouvard et Pecuchet ou la ruine de I'epistemologie positiviste et du romanesque classique 117 I. Un musee de Pheteroclite : problemes epistemologiques 118 1.1. Un pseudo-cabinet de curiosite : des raretes d'une banalite exemplaire 119 1.2. Une collection insignifiante : heteroclite, kitsch et mines 122 1.3. Du musee aux poubelles : Pexemple de la statue de Saint-Pierre 127 1.4. Pseudo-didactisme et pseudo-parcours narratif: visite d'un musee ou piece de theatre comique ? 130 viii II.
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