Cette thèse propose une étude inédite sur un auteur négligé par l’Université et la recherche : Marcel Pagnol. À partir de son cas, ce travail interroge les processus de légitimation et déconstruction du canon. Cette recherche, qui s’inspire de la sociologie de la littérature, explore les paradoxes d’un « illustre méconnu » qui relève d’une littérature officielle, classique, patrimoniale, mais se trouve déconsidéré à plusieurs titres. Sa célébrité et ses succès nuisent à son capital symbolique ; son particularisme régional l’empêcherait d’atteindre l’universel. Entre institutionnalisation et discrédit, Pagnol dessine une voie moyenne et réalise un art moyen (middlebrow culture) qui concilie bonne littérature et grand public. Au théâtre, il met d’accord le théâtre commercial, le théâtre de boulevard et une partie de l’avant-garde, démontrant la perméabilité du champ dramatique. Au cinéma, il associe le cinéma d’auteur, le scénario littéraire et l’avant-garde néoréaliste aux mélodrames populaires. Dans ses récits, il met en valeur la continuité entre tradition orale et innovation médiatique. Ce classique-populaire, ce conservateur moderne se tient en équilibre entre régionalisme et parisianisme, entre intellectualisme et pragmatisme, sur une voie moyenne qui hybride cinéma et théâtre, théâtre et music-hall, conte et radio. / This thesis provides a new study on a writer usually neglected by scholarship : Marcel Pagnol. Taking his case as a starting point, this study aims to analyze the processes of legitimation and construction of canon. This research, building on sociology of literature, investigates the paradoxes of an “illustrious unrecognized” who pertains to official, classical and patrimonial literature but that nonetheless remains discredited by several matters. His fame and successes damage his symbolic capital; his regional particularism may prevent him from reaching universality. Between institutionalization and disrepute, Pagnol draws a medium path and carries out a medium art (middlebrow culture) which reconciles goodliterature and general public. In theater, he makes commercial theater, boulevard theater and some of the avant-garde come to an agreement, proving the permeability in dramatic field. In cinema, he combines art-house movies, literary script and neorealist avant-garde with popular melodramas. In literature, he emphasizes continuity between oral tradition and media innovation. This middlebrow author, this modern conservative balances regionalism against parisianisme, intellectualism against pragmatism, in a medium way that makes cinema and theater, theater and variety, tale and radio interact.

Made available in DSpace on 2014-06-11T19:26:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-24Bitstream added on 2014-06-13T19:14:11Z : No. of bitstreams: 1 morgado_ml_me_arafcl.pdf: 567342 bytes, checksum: 36a33d79bb5b768768a6557fabae191c (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A produção romanesca de Marcel Pagnol se inicia em 1957, com a publicação dos dois primeiros volumes de sua trilogia Souvenirs d’enfance: La Gloire de mon Père e Le Château de ma Mère. O terceiro volume, Le Temps des Secrets, foi publicado somente em 1960. Mas, de certa forma, essa denominação de Souvenirs d’enfance como trilogia é questionável, pois, em 1977, houve uma publicação póstuma do que seria o quarto volume chamado de Le Temps des Amours. Marcel Pagnol começou a escrever suas memórias de infância quando seu pai Joseph morreu. Certamente este evento contribui para o autor como um retorno à sua vida passada e à sua infância. Destas reflexões, ele lançou o primeiro romance La Gloire de mon Père, no qual a figura do pai possui um papel primordial na vida do personagem Marcel. Vale ressaltar que Pagnol para homenagear a sua mãe Augustine, escreveu seu segundo romance Le Château de ma Mère, a partir de um conto no qual narrava suas memórias da infância para a edição de Natal da revista feminina Elle. Este trabalho tem como finalidade o estudo do espaço geográfico e simbólico nos dois romances citados. Para isso, faz-se a análise dos romances a partir da teoria da narrativa e de estudiosos do espaço romanesco. Apresenta-se, primeiramente, um estudo sobre o narrador, uma vez que o olhar deste configura o espaço, seguido de análise de componentes espaciais concretos e simbólicos presentes dois romances. Pode-se verificar que o espaço é um componente fundamental na criação literária de Marcel Pagnol / The production novelistic of Marcel Pagnol begins in 1957 with the publication of the two volumes of his trilogy Souvenirs d'enfance: La Gloire de mon Père and Le Château de ma Mère. The third volume, Le Temps des Secrets, was published only in 1960. But somehow, the name of the trilogy as Souvenirs d'enfance is questionable, because in 1977 there was a posthumous publication of what would be the fourth volume called Le Temps des Amours. Marcel Pagnol began writing her memories of childhood when his father Joseph died. Certainly this event contributes to the author as a return to his past life and childhood. These reflections, he released his first novel La Gloire de mon Père, in which the father figure has an essential role in the life of the character Marcel. It is noteworthy that Pagnol to honor his mother Augustine, wrote his second novel Le Château de ma Mère, from a story in which recounted his memories of childhood for the Christmas edition of the women's magazine. This work aims to study the geographic and symbolic in the two novels mentioned. To achieve this, the analysis of the novels from the theory of narrative and scholars of space romance. It presents, first, a study of the narrator, since the look of this sets up the space, followed by analysis of concrete and symbolic space components present two novels. You can check that space is a critical component in creating literary Marcel Pagnol