Philippe soupault, romancier?

Philippe soupault, novelist?

• Auteur / Autrice : Bertrand Martinet
• Direction : Lucienne Cantaloube-Ferrieu
• Type : Thèse de doctorat
• Discipline(s) : Littérature française
• Date : Soutenance en 1990
• Etablissement(s) : Toulouse 2

Mots clés

Mots clés contrôlés

Roman

Soupault, Philippe (1897-1990)

Résumé

La "poetique future" de lautreamont correspond-elle, a travers l'oeuvre romanesque de soupault, a la transcendance du "reel" par le "fantastique" de dostoievsky? dans les romans de soupault, "l'aventure" de la creation "psychologique". Ouverte sur le "tresor des possibilites". Passe par la liberation de l"inconscient romanesque", dans laquelle le recit automatique est canalise a travers le dedoublement entre le personnage conscient, l'observateur, et l'autre, le surrealiste. Le bon potre constitue une tentative de liberation de l"insconscient romanesque", dont "le lyrisme est proportionnel a la vitesse" d'ecriture automatique, a partir des chants de maldoror. Le romancier en se reniant lui-meme exprime le fond de sa nature paradoxale; c'est la perfection de l'ecriture qui echappe a l'ecrivain. Les dernieres nuits de paris et nadja constituent l'aboutissement romanesque de la "collaboration invisible" entre breton et soupault depuis les champs magnetiques, a travers laquelle ils ont communique, par la forme romanesque surrealiste, d'un "inconscient culpabilise" a l'aurtre pour ce qui est du fond. Pour soupault, le but de l'ecriture romanesque surrealiste fut de liberer un "inconscient romanesque culpabilise". La possibilite du roman surrealiste ayant ete demontree, l'oeuvre romanesque surrealiste de soupault doit etre consideree, par une diaclectique des critiques litteraires et surrealistes, comme l'heritage de flaubert, recu a travers lautreamont et dostoievsky.

Does lautreamont's poetic future'correspond, through the novels of soupault, to the transcendence of the "real" by dostoievsky's fantastic"? in soupault's novels, the adventure" of "psychological" creation, open to the "treasure of possiblities", goes through the liberation of the "unconscious of the novelist"-not the "poetic unconscious" - , in which the automatic narration is chanelled through the split personal- ity of the observer and the surrealist. Le bon apotre constitue an attempt to lib- erate the "unconscious of the novelist", of which "the lyricism is proportional to the speed" of automatic writing, originating with les chants de maldoror. The novelist, in renouncing himself, expresses the depth of his paradixocal nature; it is the perfec- tion of writing that escapes the writer. Les dernieres nuits de paris and nadja con- stitue the culmination in the novel of the "invisible collaboration" between breton and soupault beginning with les champs magnetiques, through which they communicated, by the form of the surrealistic novel, from a "guilt-ridden unconscious" to the other for that which is the content. For soupault, the goal of writing the surrealistic novel was to liberate the "guilt-ridden unconscious of the novelist". The possiobility of the surrealistic novel having been demonstrated, soupaul't work in the surrealistic novel must be considered, by a dialectic of literary and surrealistic criticism, as the inheritance from flaubert, received through lautreamont and dostoievsky.