Poetique du + flux ; dans l'ecriture de thomas hardy
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Abstract EN:
The main thesis of this study is the existence under the logical discourse of a fluctuating writing, produced by the primacy of the unconscious in what thomas hardy calls +the flow of inventiveness ;. This subterranean writing can be defined as the presence of the author within his text, which incites the reader to consider it not only from the linguistic point of view, but also in an anthropological perspective (as hardy suggests when he valorizes his + living style ;). The writer having a body as well as a mind, hardy's style is analysed in this study from a materialistic viewpoint: the novelist appears to give greater importance to sensation than to meaning in his work, which is rather intuitively felt than intellectualized. For in hardy's opinion, the visionary artist can reach +the deeper reality; thanks to his + spiritual eye ; and to his + mental tactility ;, while +the empirical eye ; can only reach + the scenic reality ;. All the theoretical influences on hardy's thought evoke the +flux;, as the novelist himself seems to confirm when he speaks of+ the general flux of things ; : we specifically refer to the flux of desire (spinoza), the vital flux (herbert spencer's evolutionism), the flux of ideas and perceptions (hume's empiricism), and the flux of the unconscious (hardy's immanent will closely resembles schopenhauer's wille). Such a narrative fluidity requires a close reading, in which the unsaid prevails over the said. The multi-connection between the + absence of styte ; and the + absent-mindedness ; of the hardyan hero is to be traced in the figural richness of the text. His existential pain occasionally reopens his original crack, and triggers off the process of psychic dissociation. Then the hero leaves the real world, and is completely dispersed into his environment. In order to prevent the total destruction of his body image, he amalgamates himself with a percept which + sensorializes ; him, and thereby enables him to regain his consistency. If the hero's psychic crack prompts him to dissolve himself into the outside, the writer's creative power must also prompt him to dissolve his being into his style, since we admit with gilles deleuze that + writing has no other function than to be a flux which combines with other flux.
Abstract FR:
La these majeure de cette etude est l'existence d'une ecriture-flux provoquee par l'invasion de l'inconscient dans ce que hardy nomme + the flow of inventiveness ;. Cette ecriture souterraine, a lire dans le filigrane du discours logique, est definie comme l'inscription du sujet dans le texte, qui doit etre envisage comme matiere linguistique et aussi dans une perspective anthropologique : hardy valorise son + living style ; parce qu'il considere le texte comme etant necessairement produit par un corps-sujet. Cela nous place d'emblee dans une optique materialiste, et nous posons l'hypothese selon laquelle le romancier fait davantage passer la sensation que le sens dans son ecrite intuitivement plus qu'on ne la comprend intellectuellement. Grace a + the spiritual eye ;, l'artiste visionnaire et intuitif accede a l'infra-reel (deeper reality) par entrevision (mental tactility), tandis que l'oeil empirique percoit seulement la surface phenomenale (scenic reality). Les influences theoriques sur la pensee hardyenne evoquent le +flux; : du flux desirant (spinoza) au flux vital (evolutionnisme spencerien), et du flux d'idees et de perceptions (empirisme humien) au flux d'inconscient (vouloir schopenhauerien), tout participe de ce que hardy appelle "a general flux of things". La fluidite narrative necessite une micro-lecture symptomatologique, afin de percevoir les traits distinctifs de cette ecriture dans laquelle le non-dit prevaut sur le dit. C'est dans la richesse figurale qu'on decouse la multiplicite relationnelle entre l'absence de style et l'absence a soi du heros. La douleur existentielle rouvre episodiquement sa felure originaire et declenche un processus dissociatif au cours duquel il quitte le reel et se dissemine dans le dehors. Afin d'eviter la totale destruction de son image du corps, il fusionne avec un percept exterieur qui lui permet de regagner sa consistance en le sensorialisant. Si la felure pousse l'individu a se dissoudre dans le dehors, l'inspiration creatrice doit egalement pousser l'ecrivain a dissoudre son etre dans son dire, puisque finalement, comme l'ecrit deleuze, " ecrire n'a pas d'autre fonction : etre un flux qui se conjugue avec d'autres flux.