La ruse d'isis. De la femme dans l'oeuvre de jean giono
Institution:
Lille 3Disciplines:
Directors:
Abstract EN:
Sionce colline, woman, associated to the themes of water and origin, has appeared as the key figur of giono's inspiration, of which it is the subject and the representation ("the origin"). Through basins, one follows and ambivalent dream about water, and the themes of narcissism, melancoly and rupture, necessarily previous to writing ("in armid's gardens"). But the basins are also the domestic vessels that are associated to fallen and redeemed feminity, and to the primordial mother ("pictures"). That's what the kitchen stands for, where one dreams as well of envelopment (well-being aroused from places, eating, woman's plumpness) as of its threatening counterpart : the scattering mill ("the flag ot the amalecits"). In fact, woman's symbolism is twofold, as indicated by the ring or the whale, in and outside, imagination and creation. Both binding and scattering appear as the sources of giono's imagination and writing. The scattering evokes travelling, shifting on the genealogical three ("the tree with the sailing-ships"), as well as the wound, reealed by the forms of the v and the y ("the luminous wound").
Abstract FR:
Des colline, la femme, liee aux themes de l'eau et du commencement, apparait comme la figure essentielle de l'ecriture gionienne, dont elle est a la fois le sujet et la representation ("de l'origine"). A travers les bassins se poursuit une reverie ambivalente sur l'eau, ou se deploient les themes du narcissisme, de la melancolie, et de la rupture, necessaire prealable de l'ecriture ("aux jardins d'armide"). Mais les bassins sont aussi les recipients domestiques que l'ecriture associe a la feminite dechue et rachetee, ou a la mere primordiale ("tableaux"). C'est ce que symbolise la cuisine ou se deploie autant le reve de l'enveloppement : bien-etre (que representent les lieux, l'ingestion de certains aliments, la "rondeur" des femmes), que sa menacante contrepartie : le moulin qui disperse ("le drapeau des amalecites"). En effet, le symbolisme de la femme est double, comme l'indiquent l'anneau ou la baleine, contenant et contenu, imaginaire et creation : retention et dispersion apparaissent comme les deux poles de l'imaginaire entre lesquels nait l'ecriture gionienne, dispersion qu'evoquent le voyage, le deplacement sur le graphe genealogique ("l'arbre aux voiliers"), mais aussi la blessure apparue dans les formes graphiques du v et du y ("la blessure de lumiere").