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

Esta dissertação pretende interpretar o romance Voyage au bout de la nuit, de Louis- Ferdinand Céline, partindo de suas tensões mais elementares, cuja irradiação conduz, entre idas e vindas, a uma ampliação gradual dos termos da discussão. Tomando como ponto de partida a situação narrativa do romance, ou seja, a relação indissolúvel entre narrador e linguagem presente na obra, procura-se tensionar os procedimentos literários desencavados por meio da análise com a tradição do gênero. Em seu aspecto mais amplo, este trabalho visa explorar o caráter bifronte do romance. Tal como a imagem de Janus, Voyage au bout de la nuit se volta, ao mesmo tempo, para o futuro e para o passado: aparece como o último representante de uma linhagem subterrânea de obras cuja origem remonta a Rabelais e como o inaugurador de uma forma romanesca bastante original, profundamente ancorada na realidade de seu tempo. / The aim of this dissertation is to interpret the novel Voyage au bout de la nuit, by Louis-Ferdinand Céline, starting from its most elementary tensions, whose irradiation leads, in its backward and forward movements, to a gradual enlargement of the terms of discussion. Taking the novels narrative situation as a starting point, that is to say, the indissoluble relation between narrator and language present in the text, well try to compare the literary procedures, uncovered by means of the analyses, with the tradition of the genre. Such as the image of Janus, Voyage au bout de la nuit turns, at the same time, to the future and the past: It appears as the last representative of an underground lineage of works, whose origins date from Rabelais, and as the founder of a very original novel form, deeply anchored in the reality of its time.

Esta dissertação pretende interpretar o romance Voyage au bout de la nuit, de Louis- Ferdinand Céline, partindo de suas tensões mais elementares, cuja irradiação conduz, entre idas e vindas, a uma ampliação gradual dos termos da discussão. Tomando como ponto de partida a situação narrativa do romance, ou seja, a relação indissolúvel entre narrador e linguagem presente na obra, procura-se tensionar os procedimentos literários desencavados por meio da análise com a tradição do gênero. Em seu aspecto mais amplo, este trabalho visa explorar o caráter bifronte do romance. Tal como a imagem de Janus, Voyage au bout de la nuit se volta, ao mesmo tempo, para o futuro e para o passado: aparece como o último representante de uma linhagem subterrânea de obras cuja origem remonta a Rabelais e como o inaugurador de uma forma romanesca bastante original, profundamente ancorada na realidade de seu tempo. / The aim of this dissertation is to interpret the novel Voyage au bout de la nuit, by Louis-Ferdinand Céline, starting from its most elementary tensions, whose irradiation leads, in its backward and forward movements, to a gradual enlargement of the terms of discussion. Taking the novels narrative situation as a starting point, that is to say, the indissoluble relation between narrator and language present in the text, well try to compare the literary procedures, uncovered by means of the analyses, with the tradition of the genre. Such as the image of Janus, Voyage au bout de la nuit turns, at the same time, to the future and the past: It appears as the last representative of an underground lineage of works, whose origins date from Rabelais, and as the founder of a very original novel form, deeply anchored in the reality of its time.

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Since Celine's death, the pamphlets he wrote at the beginning of World War II always presented great difficulties for those who studied him. But in the last few years, for various reasons the pamphlets have stirred up researcher's interest. Following this movement, this thesis is an attempt to integrate these pamphlets to the prose of the author of Journey to the End of the Night in a general pattern of analysis. / In order to do this analysis, is developed an hermeneutic model of analysis which divides Celine's work into a poetical investigation and a polemic pursuit that demonstrate that these two genres use the same rhetorical strategies. / Part I of this thesis investigates the distinct rhetoric used by Celine in mixing poetry and polemic. Part II examines the poetic investigation and the polemic pursuit separately, Celine having separated these two genres after Journey to the End of the Night. / Without eliminating the differences between poetry and polemic, this thesis aims at demonstrating the continuity and coherence of Celine's work which is particularly well suited for putting an hermeneutic model of analysis to the test because it is a work that is torn more than any other between the ravishing and the horrific, between the beautiful and the terrifying. And that is where in this profound humanity Celine's work is so rich in interpretation.

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Plus que jamais, les débats que suscite le personnage de Louis-Ferdinand Céline s’apprêtent à prendre le pas sur la réception de son œuvre littéraire, pourtant exceptionnellement riche. Soumis à une lecture souvent approximative, imprégnée d’aprioris, ses écrits sont couramment victime d’une mise en perspective déformée, car abordés à rebours. Deux idées aussi tenaces que contradictoires se maintiennent alors : celle d’une œuvre principalement politique et celle d’un écrivain avant tout styliste. Donnant la priorité à une approche en accord avec le développement chronologique de l’œuvre, ce travail de thèse propose de remettre en valeur les intentions primaires de celle-ci. À partir d’une contextualisation dans l’histoire des idées de Voyage au bout de la nuit, Mea culpa et Bagatelles pour un massacre, elle soutient que les écrits de Céline s’appuient sur une interrogation philosophique qui s’élabore autour d’un même malaise vis-à-vis de l’héritage des Lumières, mais dont les conséquences, autant pour le fond que pour la forme, diffèrent selon les textes. Alors que Voyage au bout de la nuit présente une interrogation ontologique axée autour du motif du néant, Bagatelles pour un massacre poursuit une approche où la remise en question des Lumières donne naissance à des revendications esthétiques et sociologiques autant qu’à des diatribes idéologiques. Aux confins de l’un et de l’autre texte, Mea culpa pose les bases de ce passage de l’abstrait au concret, si lourd de conséquences pour l’appréhension de l’œuvre. Ainsi, ce travail de thèse contribue non seulement à une meilleure compréhension des textes abordés, mais montre l’univers intellectuel sous-jacent qui les relie. / More than ever, debates engaging the character of Louis–Ferdinand Céline prevail over assessments of his collected work. The latter tends to receive superficial treatment, falling victim to a distorted perspective, infused with pre-judgment and approached through the prism of the author rather than the work itself. Two ideas, as persistent as they are contradictory prevail: of work that is inherently political and of a writer who is above all a stylist. Emphasising an approach in sync with the chronological development of Celine’s work, this thesis proposes to resurrect the author’s primary intentions. Starting with a contextualisation of Voyage au bout de la nuit, Mea culpa and Bagatelles pour un massacre, it is submitted that the writings of Celine rely on philosophical questioning developed around the same unease as has been witnessed on the legacy of the Enlightenment, but whose consequences, as much for the substance as the form, differ as according to the text. Whilst Voyage au bout de la nuit presents an ontological question centred on the theme for nothingness, Bagatelles pour un massacre pursues an approach where the questioning of the Enlightenment gives rise to aesthetic and sociological claims as well as ideological denunciations. At the extremities of the various texts, Mea culpa forms the basis of this movement from the abstract to the concrete albeit fraught with consequences for the understanding of the work. Thus, this thesis not only contributes to a better understanding of the texts examined, but shows the underlying intellectual universe that connects them.