Texte remanié de: Thèse de doctorat--Littérature française--Paris 8, 1997. / Bibliogr. p. 416-452. Notes bibliogr. Index.

The aim of this thesis is at once simple and complex. It consists of explaining the modes of expression and the prevalent idioms of the experience of la promenade, the contemplative experience of a leisurely stroll, in the works and notebooks of Philippe Jaccottet. Far from focusing solely on the dynamic aspect of walking, the aspect to which the majority of literary critics have for so long limited themselves, it consists as well of defining the movement of la promenade as a practice of l'entre-deux (the in-between), through the sensorial dimensions of the work as well as through is writing practices. The objective of this thesis is to focus on the passage from the experience of movement to the experience of writing in the works of Jaccottet, in order to demonstrate that walking, in the context of la promenade, is not only an extra-diagetic experience, but that it possesses as well a diagetic status meant to be understood through the use of a particular form. / My analytical framework used here is founded on the hypothesis that la promenade, at least in the works of Philippe Jaccottet, is in fact an issue of the "in-between"; a problem which is first and foremost a way of formulating a vision of the world which comes from a particular poetic sense of measure, accuracy and balance. For Jaccottet, l'entre-deux denotes a way of inhabiting the outside world, of seizing the contrasts and contradictions in the tension between the known and the unknown, the near and the far, inside and outside, visible and invisible. In this sense, l'entre-deux denotes being at once within oneself and being in the world without, as if the poet himself wandered between two extremes, between two opposite poles of thought and knowledge. / In line with the procedures of traditional literary criticism, this thesis thus attempts to define the development of the poetic subject, its relation to the world, to writing and to language. (Abstract shortened by UMI.)

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The main objective of this study is to understand how Valery, Pessoa and Jaccottet created or recreated the figure of the master. This figure has truly made its entry into the literary scene in the second half of the nineteenth century, and it contributed to impose a profane and more egalitarian vision of writing. In the writing of the three authors studied, the master is still seen as a strategy to develop a concept of creation, since it allows the writers to define their poetic. It is therefore a matter of maitres a penser (literally "thinking masters") or, better yet, maitres a ecrire ("writing masters"). / For Valery, the desire to make Mallarme his master is best explained by his search for mastery. Even if he is eager to understand what makes Mallarme an exceptional creator, Valery's quest is hindered by Mallarme's refusal to explain his poetic. This resistance seems to encourage Valery to make the creative act a major concern of his work. / By coming up with a "non-existent coterie" made up of imaginary writers, and by recognizing one of them as his own master, Pessoa hopes to fill the gaps in his literary filiation. In the concert of voices that compose his work, it is yet the master himself which undermines the very legitimacy of the master, and that is why Pessoa finally gets rid of his invention. / Finally, Jaccottet creates his masters for the learning they could provide to him: in Jaccottet's unique story, the character of the master fails, allowing the poet to take his distance from assumptions related with the romantic vision of creation; then, a "good master" whose agony is described by poems becomes a model whose wisdom is inseparable from a kind of ignorance. / The presence of the master generates a story elaborated from the writings of these writers: the development of their poetic requires not only the creation of a master figure, but also its removal. Ultimately, the maitre a ecrire is not only one who induces writing in a unique way, but also the one which should be written in order to succeed.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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