Vision picturale et création romanesque chez Claude Simon : du vent à l'acacia

Pictorial and literary creation in claude simon's novels from le vent to l'acacia

• Auteur / Autrice : Ghizlane Machraoui Alaoui
• Direction : Nabile Farès
• Type : Thèse de doctorat
• Discipline(s) : Littérature française
• Date : Soutenance en 1994
• Etablissement(s) : Grenoble 3

Mots clés

Mots clés contrôlés

Simon, Claude (1913-2005)

Mots clés libres

Litterature francaise

Litterature du 20e siecle

Roman

Creation romanesque

Peinture

Image

Simon claude

France

Résumé

A l'interieur de l'oeuvre de clause simon, le lien dynamique entre le pictural et le narratif s'affirme avec force. Telle constatation justifie le pacte de la peinture sur l'ecriture simonienne. Le souci de l'auteur etant la simultaneite, il essaie de la realiser au niveau narratif en recourant a des descriptions a partir des images. Il s'est avere que claude simon a fait evoluer son oeuvre romanesque en mettant a profit les exigences, particulierement stimulantes, de la fonction picturale. Ce travail progresse a partir de remarques liminaires qui permettent de cerner quelques definitions : "perception", "chose", "espace pictural", "mot", "rythme". L'interet de cette recherche est d'avoir mis en perspective une poetique elaboree a partir de donnees phenomenologiques et de la double determination du romanesque et du pictural. Nous nous sommes interroges sur l'investissement de la creation simonienne par une "vision picturale" en examinant les divers modes de la presence de la peinture a plusieurs niveaux d'elaboration de l'oeuvre. L'originalite de l'ecriture simonienne reside dans sa tentative de fusionner la technique picturale et la technique scripturale et dans l'usage des procedes techniques de la peinture, ce qui manifeste deja une harmonie lineaire du langage. Certes, la structure de ses romans montre que l'organisation picturale s'impose a son ecrit.

Within claude simon's work, the dynamic link between the pictural and the narrative aspects is strongly underlined. Such a finding justifies the predominence of paining on simon's writing. The author's main interest being simultaneity, he tries to work it out at the narrative level by resorting to descriptions through images. It has turned out that claude simon has made his literary work more valuable by taking advantage of the particularly stimulating requirements of the pictural function. This evolues from preliminary remarks which permit to define certain notions such as : "perception", "thing", "pictorial space", "word", "rhythm". The interst of this research has been to put into perspective a poetry established from phenomenal data and from the double determination of literary and pictorial aspects. We have wondered about the investment of simon's creatioin through a "pictorial vision", by examining the different modes of the presence of painting at various levels of the work elaboration. The originality of claude simon's writing lies in his attempt to fuse together the pictorial and the scriptural techniques, and in the use of the technical procedures of painting, which already expresses a lirear harmony of language. The structure of his novels certainly shows that the pictorial organisation imposes itself on his writings.