Th. Doct.--Faculté des lettres--Université de Helsinki, 1999. / Contient un résumé en anglais. Bibliogr. p. 277-282.

Marcel Proust and the Text as Macrometaphor proposes that metaphor may provide the key to understanding the structure and effect of some novels. Some literary works give rise to an inexpressible impression that transcends its component elements. This dissertation attempts to prove that such texts reflect on a macro-scale the structure of a poetic metaphor, and thus function as "macrometaphors". Because Marcel Proust established a connection in Le temps retrouvé between metaphor and a literary work, his investigation of the metaphorical process and the means by which it suggests to its reader the internal reality of things is utilized as the theoretical basis for a comparative analysis of six novels from the perspective of the metaphor-like structures that underlie their characterizations, organization, ideas, imagery, milieus, and symbols. The Introduction discusses the validity of using Proust's A la recherche du temps perdu as an illustration of the novel as macrometaphor, and considers other theoretical studies which also suggest a possible connection between text and metaphor. Chapter One analyzes Proust's theory of metaphor as set forth in Le temps retrouvé, elucidating first of all the meaning of the word "metaphor" as used by Proust. It then explores briefly how his usage fits into the history of the concept of metaphor from the time of Aristotle to the present day, and next explicates the steps taken by the narrator that culminate in his recognition of the metaphorical process and its relationship to art and life. Finally, it clarifies the structures and conditions that constitute metaphor as understood by Proust. Chapter Two demonstrates how the totality of the novel A la recherche du temps perdu reflects the structure of metaphor as defined in Le temps retrouvé. The similarities shared by the structure of the text and the structure of metaphor are the grounds for viewing the text as a macrometaphor. Chapter Three presents brief, comparative structural analyses of five other novels (Cervantes' Don Quixote, Diderot's Jacques le fataliste et son maître, Thomas Mann's Der Zauberberg, Julio Cortázar's Rayuela, and Gabriel García Márquez' Cien años de soledad) in order to demonstrate that these works reflect the structure of metaphor also. The Conclusion presents some general ideas about the relationship of thought, discourse, metaphorical structure, literary works in general and novelistic structure in particular. / Arts, Faculty of / English, Department of / Graduate

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Ce travail a pour objet l’étude génétique du personnage de Charlus dans les avant-textes de À la recherche du temps perdu : les soixante-quinze cahiers de brouillon principalement mais aussi les trois cahiers de mise au net du Côté de Guermantes et les vingt manuscrits au net de Sodome et Gomorrhe au Temps retrouvé. La quantité et la diversité des brouillons ont nécessité une approche chronologique et macrogénétique. Cette dernière a consisté à situer les avant-textes consacrés à M. de Charlus à l’intérieur du projet d’ensemble de l’œuvre, lui-même en constante évolution, afin de dégager la trajectoire du personnage dans les manuscrits, c’est-à-dire de mettre en évidence les grandes lignes de son évolution en les resituant dans chacun des chantiers successifs du projet romanesque : dans les premières esquisses de 1909, puis dans « le roman de 1912 », dans les brouillons des années 1913-1914 marqués par l’irruption d’Albertine et par l’entrée de la guerre dans le grand roman, dans ceux des années 1915-1916 enfin où l’on repère les dernières modifications de structure de l’œuvre en gestation. Le va-et-vient permanent entre genèse du personnage et genèse de l’œuvre a permis de montrer comment le personnage se modifiait en fonction de l’évolution de la structure d’ensemble mais il a également eu le mérite inverse de révéler que la structure romanesque avait à plusieurs reprises été elle-même bousculée et modifiée par le personnage de Charlus. L’interaction entre le personnage et la structure évolutive de l’œuvre a ainsi permis à la fois de dégager des facettes peu connues du baron de Charlus et de dévoiler des aspects inattendus de la genèse de À la recherche du temps perdu. / The object of this genetic study is the character Charlus in the proto texts of À la recherche du temps perdu, principally in the seventy-five workbook notebooks but also in the three revision notebooks for Le Côté de Guermantes and the twenty rough draft manuscripts from Sodome et Gomorrhe to Le Temps retrouvé. The quantity and the diversity of these notebooks required a chronological and macrogenetic approach. The latter consisted in situating the earliest texts devoted to M. de Charlus within the project of the complete work, which was itself in constant evolution. The purpose is to clarify the trajectory of the character in the manuscripts, to trace the character’s development by situating him in each of the successive constructions for the novel: first in the sketches of 1909, then in what has been called “the novel of 1912,” followed by the rough notebooks of 1913-14 in which Albertine first appears, as well as the war. The final modifications of the structure and the work–in–progress take place in 1915-16. This back and forth movement between the genesis of the character and the genesis of the work has demonstrated how the character was modified according to the evolution in the structure of the whole. Our methodology also has the inverse merit of revealing that the structure of the novel was also shaken and modified by evolutions concerning the character Charlus. The interaction between the character and the evolutive structure of the work–in–progress has allowed this study to document hidden facettes of the baron de Charlus and to reveal surprising details concerning the genesis of À la recherche du temps perdu.

Hormis son dernier film en date, Resnais a toujours refusé d’adapter des romans tout en ne travaillant, durant de nombreuses années, qu’avec des écrivains avant tout romanciers. Premier de ses films à avoir été écrit par un dramaturge de formation, Providence (1977) met pourtant en scène un vieil écrivain malade et alcoolique en train d’imaginer les scènes tour à tour horrifiques et comiques d’un ultime roman dont les héros ne sont autres que ses proches. Ce paradoxe fonde le présent essai, centré sur un film d’une rare exactitude en matière de création littéraire et dont la structure en diptyque met à nu les rapports de la fiction et du réel. Réhabilitant la notion de « cinéma littéraire » tout en faisant éclater le cadre trop réducteur de l’adaptation et en posant le récit et non le spectacle comme enjeu majeur chez Resnais, cette étude explore les liens plus intimes existant entre les livres et les films. Permettant de revenir sur des romanciers fondamentaux de la modernité tels que Melville, Proust et Faulkner, la machine cinématographique de Resnais trouve peut-être dans leurs textes son meilleur usage. Et c’est ainsi que, employé dans toute son active spécularité, Providence révèle les profondes affinités qu’entretiennent l’écriture et le suicide. Tourmenté par celui de son épouse qu’il pose au centre d’une histoire où les vieillards, changés en loups-garous, sont parqués dans les stades d’extermination d’un état de terreur, du fond de son manoir nocturne de Providence, le grantécrivain et pathétique démiurge s’escrime à nous faire peur avec sa propre agonie : c’est peut-être ce qui fait de lui le plus véridique de tous les auteurs abymés au cinéma. / AApart from his latest film Resnais has always been reluctant about the adaptation of novels despite working for many years exclusively with writers who were mainly novelists. However, Providence (1977), his first film ever to have been written by a professional playwright, stages an elderlywriter, sick and alcoholic, in the course of imagining scenes, alternating between the horrific and the comic, of an ultimate novel the heroes of which are none other than his own next of kin. This paradox constitutes the core of the present essay which is centered around a film of rare precision regarding the literary creation, and its diptycal structure provides a deep insight into the links of fiction and reality. By rehabilitating the notion of “literary cinema”, while bursting the far too limiting frame of adaptation, and while presenting the storytelling rather than the showing as Resnais’ major engagement, the present analysis explores the more intimate relations between books and films. While enabling the return to fundamental novelists of modernity such as Melville, Proust and Faulkner, Resnais’ cinematographic machine may find in their texts its most efficient use. Through its active mise en abyme Providence reveals the profound affinities between writing novels and committing suicide. Tormented by his wife’s suicide which he places in the centre of a story where the elderly, transformed into werewolves, are locked in the extermination stages of a state of terror, at the heart of his nocturnal manor in Providence, the grantécrivain and pathetic demiurge is struggling to frighten us with his own agony. This probably makes him the most truthful of all abymed writers in cinema.

Proust em imagens é uma reescritura ou uma tradução intersemiótica de fragmentos da obra Em busca do tempo perdido de Marcel Proust e de sua crítica, sob a forma de uma exposição de artes plásticas. Além disso, seu texto consiste em uma busca pessoal, da minha vocação de artista espelhada na do narrador da Recherche e na do próprio autor, Marcel Proust; em um projeto de exposição e em uma reflexão sobre as duas linguagens: literatura e artes plásticas ou texto e imagem. Por fim, acrescento a análise de uma frase do caderno manuscrito 39 do mesmo autor, sob uma ótica da crítica genética e da pintura, o quadro Vista de Delft de Vermeer e seu pedacinho de muro amarelo / Proust in images is a rewrite or intersemiotic translation of fragments of the work In Search of Lost Time by Marcel Proust and his criticism in an exhibition of visual arts. Also, this text consists of a personal quest, my vocation as an artist mirrored in the narrator of the In Search of Lost Time and the authors own Marcel Proust; of a exhibition projects and of a reflection on the two languages : literature and visual arts or text and image. Finally, I add the analysis of a sentence of 39 notebook manuscript by the same author, in a perspective of genetic criticism and painting, the Vermeer painting and his little piece of yellow wall