LECLÉZIEN HYBRIDITY: RELATIONS ACROSS GENRES, HISTORIES AND CULTURES IN SELECTED WORKS Martha van der Drift A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (French). Chapel Hill 2014 Approved by, Dominique Fisher Hassan Melehy Jessica Tanner Yolande Helm Bruno Thibault i © 2014 Martha van der Drift All rights reserved. ii ABSTRACT Martha van der Drift: Leclézien Hybridity: Relations Across Genres, Histories and Cultures in Selected Works (Under the direction of Dominique Fisher) This dissertation explores the representation of hybridity in selected works of Nobel Laureate JMG Le Clézio. More particularly, I define hybridity as the intersection of literary and artistic generic diversity, fictional and historic discourses and heterogeneous world cultures. I propose to consider the generic diversity that characterizes the author’s work as a means to mirror the cultural and historical heterogeneity of our world today. Until now, leclézien scholars have separately examined historiographical elements, representations of regional cultures and generic diversity within the boundaries of French literary theory. Indeed, these studies provide valuable stylistic, thematic and historical insights. However, by investigating these elements in concert and in the context of current discussions of hybridity in Francophone studies, my dissertation sheds a new light on the relationships between multiple genres, diverse fictive and historical discourses and geographical spaces that distinguish Le Clézio’s works. In my first chapter, I discuss the key concepts of hybridity in Francophone literary and cultural studies while also considering the ongoing debate concerning a regional or transcultural approach to Le Clézio’s works within the context of French and Francophone studies. Having established this methodological basis, in chapters two through four, I examine the intersections of genres, histories and cultures in two recent literary works, iii Révolutions (2003) and Cœur brûle et autres romances (2000) and the author’s recent exhibit at the Louvre from November 2011-February 2012, Le Musée Monde. I contend that by privileging transversal encounters between genres, histories and cultures, Le Clézio incites an engaged reader, or viewer, response to construct new, Relational histories and identities, an affective response of Relation to embrace the Tout- monde as suggested by Martiniquais writer and philosopher, Edouard Glissant. Through my research, it is my intention to underline the socio-cultural value of Le Clézio’s work in promoting intercultural understanding. What is more, my aim is to shine light on potential transversal methods for Francophone scholars who approach literary, performing and visual arts in our twenty-first century globalizing world. iv It is with much love and gratitude that I dedicate this dissertation to my late father, Howard C. Broom, whose faith, love and support continue to inspire me to believe in Life, Humanity and my dreams. “Être un individu, faire et laisser faire cet individu, c’est peut-être là le vrai chemin vers les autres […] Chaque vie doit s’achever et se résoudre indépendante, et dépendante de tous, jusqu’à l’ultime fermeture qui l’accomplit et lui donne un sens.” (JMG Le Clézio, L’Extase matérielle 257-258) v ACKNOWLEDGEMENTS While working on my dissertation, numerous scholars, friends and family have supported and inspired me, and I am grateful to be able to express my gratitude. Firstly, I wish to thank Dominique Fisher, my dissertation director, who has worked closely with me through the years as I have written and edited these chapters. Secondly, my thanks go out to my each of my committee members but in particular, I thank Bruno Thibault and Yolande Helm for their long-distance guidance and support. In addition, my gratitude goes out to Enio Rao, Hannelore Jarausch, Jessica Tanner and Martine Antle, my UNC mentors, who supported my academic and teaching endeavors. To my mentors at L’Association des lecteurs de JMG Le Clézio, I would like to thank you for the solidarity that you shared with me: it has been an inspiration during my research. I particularly want to thank Jean-Marie Le Clézio for his work that has inspired my dissertation and my faith in humanity. Jean-Marie and Jemia, thank you for for being who you are and for generosity and friendship. Sarojini and Issa Asgarally: thank you for your academic insights, for living Interculturality and for your unforgettable hospitality. Above all, I want to thank my family and friends for their priceless and undying support. À ma chère amie, Véronique: ton amitié est un des plus beaux cadeaux que je puisse avoir. To my brother Joseph, thank you for believing in my potential and fathering me when I needed you most. Isa and Robert, your laughter, support and love of learning have kept my vi feet on the ground. To Jazz, my grand sage, what would I have done without your wise, loving gaze as you stood faithfully by my side through the years? Sweet Samba and Miles: thank you for your patience, craziness and Springer love: je vous adore! And finally, Koen: your love and undying support has given me the strength to believe in myself when I was too tired to try. vii TABLE OF CONTENTS LIST OF FIGURES AND ILLUSTRATIONS ....................................................................... xi LIST OF ABBREVIATIONS ................................................................................................. xii CHAPTER ONE INTRODUCTION ........................................................................................ 1 Hybridity ..................................................................................................................... 11 Hybridity and Francophone Literature ........................................................................ 12 Hybridity in French and Francophone Literary Studies ............................................. 18 Hybridity: Transgeneric Relations and Le Clézio ...................................................... 23 Hybridity: Relations of Transcultural Histories and Le Clézio .................................. 27 Hybridity: Toward an Engaged Reader Response ...................................................... 37 CHAPTER TWO RELATIONS OF HYBRIDITY IN RÉVOLUTIONS ............................... 42 Relations across Genres The “Novel” and a Hybrid Narrative Structure .................. 47 Relations of Histories and Cultures Across Genres: Mauritius, France and the Distant Algerian war, Jean Eudes, Catherine and Jean Marro ....................................................................... 53 viii Relations of Histories and Cultures Across Genres: France, England, Mauritius and Mexico, Jean Marro, Jean Eudes, Kiambé and Nezahualcoyotl ............................................... 59 Relations of Histories and Cultures Across Genres: Mauritius and France, Jean and Catherine Marro, Kiambé, Marie Anne Naour ............................................ 66 Relation and Engaging Reflection: The Interconnectedness of Histories and Cultures ...................................................... 74 CHAPTER THREE RELATIONS OF HYBRIDITY IN CŒUR BRÛLE ET AUTRES ROMANCES ....................................................................... 79 Relations across Genres : The Short Story and the Collection ................................... 83 The Collection’s Frame: Visual Writing, Cultural Crossings and the Arabesque in “Cœur brûle” ................... 92 Orality, Translation, and Metamorphosis in “Chercher L’Aventure” ........................................................................................... 94 Fictionalized realism: Reading Memories of Aging in “Hôtel de la Solitude” ............................................ 100 Fragments of daily life in the United States, Mexico, and Mauritius “Trois Aventurières” ................................................................................................. 102 Metaphysical Language, Tragedy and the Spectator “Kalima” ................................................................................................................... 105 Relation and Engaging Reflection: Modern Tragedy ............................................... 118 CHAPTER FOUR RELATIONS OF HYBRIDITY IN LE MUSÉE MONDE .................... 120 Le Clézio and the Arts: Literary Expressions ........................................................... 129 ix The Louvre: A History of Defining and Propagating Culture .................................. 137 The Rise of Scientific Authority and Cultural Elitism .............................................. 141 Cabinets of Curiosity and Ethnography Museums ................................................... 142 Surrealism and Primitivism ....................................................................................... 146 The Grand Louvre ..................................................................................................... 149 The Quai Branly Museum: Eliminating or Reiterating Cultural Hierarchies? ..................................................... 151 Visitor Mediation and Interpretation ........................................................................ 155 Relations of Hybridity: Le Musée monde ................................................................. 157 Toward a Hybrid Museology Relations Across Heritages of Art and Science