L'imaginaire de la blessure : étude comparée de Le renégat ou un esprit confus d'Albert Camus, de Voyage au bout de la nuit de L.-F. Céline, de Light in August de William Faulkner, et de The snows of Kilimanjaro de Ernest Hemingway
Institution:
Université Stendhal (Grenoble)Disciplines:
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Abstract EN:
The coherence of what can appear as an incongruous collection is based on a recurrent image constituting the object of the thesis : the wounded body. It allows to explore, in the first stage of the research, the "phenomenology of the wound", based on the theories of gaston bachelard and gilbert durand. This first stage enables an investigation into the relationships between the body and the environment as a powerful means of symbolization in the texts. The second stage involves a deeper exploration into the relatioships between the characters of the four texts, and the structuring forces of the imaginary of the wounded body, on an individual, interindividual, and collective basis. It leads to an interrogation about a new form of initiation for the characters involved in the wounding process. Findings from the above leads to a third stage of research, namely the study of the "writing of the wound", investigating its technical tenats as well as its metaphorical, that is "cognitive" potentialities, as paul ricoeur would put it.
Abstract FR:
La coherence d'un corpus apparemment heterogene se fonde sur la recurrence de l'image de la blessure dans les quatre textes abordes. La premiere etape de la recherche envisage une phenomenologie du corps blesse, basee sur les theories de gaston bachelard et de gilbert durand, permettant une investigation des relations entre le corps blesse et l'espace qui l'entoure, considerees comme un moyen puissant de symbolisation. La seconde etape aborde les forces structurantes de l'imaginaire de la blessure, principalement l'exercice de la violence aux niveaux individuel, familial et collectif. Cette etape mene a une interrogation sur une forme particuliere de l'experience initiatique vecue par les acteurs du scenario de la blessure. Il s'agit enfin, dans un troisieme temps, de considerer les tenants d'une "ecriture de la blessure", tant sur le plan technique que dans sa dimension metaphorique, c'est-a-dire, selon la terminologie de paul ricoeur, cognitive.