چکیده:
Nathalie Sarraute rassemble, dans Enfance, des souvenirs de ses onze premières années
dont le dialogisme, comme l’une des originalités du récit, est l’aboutissement des mouvements intérieurs qui glissent très rapidement aux limites de sa conscience. Il importe de savoir comment Enfance s’inscrit dans les canons d’un genre en rêvant un caractère neuf par un geste d’écriture poétique qui permet à un surmoi d’ouvrir inconsciemment le texte sur un dialogue théâtral. Dans cet article, on étudie comment cette écrivaine vieillie avec une méfiance, se penche sur son passé en faisant résonner une voix double
narrative d’ami imprudent. Pour étudier les procédés utilisés autobiographiques dans l’élaboration de
cette oeuvre, nous aurons recours aux théories de Philippe Lejeune, spécialiste de l’autobiographie, et aux commentaires de Monique Gosselin. On va aussi découvrir par la méthode de lecture analytique et
psychanalytique, en se référant à la théorie de l’inconscient Freudien, les origines de la vocation
correspondant à l’écriture de cette oeuvre. Nous voudrions montrer comment Sarraute assemble les
souvenirs de l’écrit dialogique musical à la forme sonate comme un collage d’images autonomes par des
chapitres discontinus.
ناتالی ساروت، در اثر کودکی، خاطرات یازده سال اول (زندگی) خود را گرداوری نموده، که دستیابی به ناهوشیار، به عنوان یکی از اصالتهای داستان او، اوج حرکتهای درونی را نشان میدهد که خیلی سریع به سمت مرزهای خود اگاهی حرکت میکند. این امر مهم است که بدانیم چگونه اثر "کودکی" یک ویژگی جدید را با نوعی نوشتار شاعرانه، وارد قواعد و معیارهای سبک ادبی میکند که به یک فرامن اجازه گشودن متن براساس یک گفتگوی تياترگونه را میدهد، نمایشی زیبا که جدالی بین خود اگاه و ناخود اگاه است. ما در این مقاله با بررسی این که چگونه نویسنده سالخورده با بی اعتمادی با طنینانداز کردن یک صدای روایی همزاد همچون دوستی بی پروا به گذشته میپردازد، و همچنین برای مطالعه رویههای مورد استفاده در تهیه این اثر، با خوانش تحلیلی روانکاوانه و با تکیه به نظریات فروید، به بررسی اثر برای دسترسی به لایه های نهفته می پردازیم. با استفاده از نظریههای فیلیپ لوژون و مونیک گوسلین برای بررسی ساختار متن بر ان هستیم تا در این نوشته موسیقیایی مبتنی بر دیالوگ نشان دهیم که ساروت از این طریق خود زیست نامه نگاری منحصر به فردی را در بخشهایی با چیدمان تصاویر مجزا در فصلهای ناپیوسته گرد هم میاورد.
The twentieth century was distinguished by a romantic upheaval which made it possible to translate the feelings of unease marked by the world wars. Reinvention is nothing other than the discovery of a new order of sensations and the putting into practice of new means of expression which make necessary the transformation of conventional forms considered as bothersome and sterile. In expressing this opinion, Nathalie Sarraute was of course speaking about the novel, but this remark can also be implicitly true about autobiography. Reinventing autobiography therefore means shifting the main centers of interest formulated by the questions “who am I?” And “what am I doing there?” towards the games on the potentialities of the self. What is the position of the narrator in the plot and why does he tell us what he tells? The plot and the character, regarded as the origin of all fiction, become less lively. Sarraute had already challenged her conventions in her essay “The Era of Suspicion”. Her romantic work was therefore an attempt to put her theoretical reflection into practice. The new novel renews the romantic genre dating back to Antiquity. Sarraute is a French woman of Russian origin and one of the figures of the new novel ever since the publication of “The Era of Suspicion”. Her Enface which records the memories of her first eleven years is known for its dialogism as one of the originalities of the story. The author seeks to rediscover what creates personality, devoting herself to reconstructing her first encounters with words, the pleasure of reading and the activity of observing an individual consciousness by herself in writing. Considerations of how to approach autobiography coincide with important debates concerning current psychoanalysis. Freud believed that childhood memories were not destroyed, but repressed because they were painful, so he used hypnosis to inform many people about their childhood memories. Hypnosis, or more precisely, hypnotism, does not render one dominant to another. Rather the person deals with his subconscious (the subconscious mind controls the human being). In psychoanalysis, associations of memories, thoughts, or feelings that are distressed by self-consciousness are called retrogression. These unwanted contents, often containing painful childhood memories, are driven unconsciously. Repression is thought to increase anxiety and neurotic symptoms when a prohibited drive or impulse threatens to enter the psyche. Retrogression is a defense mechanism, which guarantees to prevent something unacceptable to the conscious mind, and, if recalled, provokes anxiety. In this article, we study how this aged writer who distrusts her past makes a double narrative voice of a reckless friend resonate. We also aim to study the processes used in the elaboration of this work and, to do so, we will make use of the theories of Philippe Lejeune and Monique Gosselin. We will examine the piece by making use of Freudian analytical reading, as well as the techniques and the
reasons corresponding to writing this book. We would like to show the importance of the musical dialogical writing by which Sarraute assembles memories into fragments like a collage of autonomous images throughout discontinuous chapters.
To study the processes used in the elaboration of this work, we will use the analytical and formalist method of reading the theories of Philippe Lejeune and Monique Gosselin. Through Freudian analytical and psychoanalytic reading, we will also study the motives corresponding to the inscription of this book. Lejeune, a literary theorist and specializing in autobiography believes that an autobiography is a retrospective narrative in prose that a real person makes of his own existence when he focuses on his individual life, especially on his personality. He shows us the relationship that the author establishes with himself through writing.
There are several ways to write an autobiography and, in this research, we study how Sarraute will talk about herself and how she will write? “I” dominates as in a first-person narrative in this style, but can we clarify the status of a disrespectful double who dares to suspect in an elderly lady a fallout in childhood and raise the ghost of a forced retirement. As a result, we will be particularly concerned with the dialogic form which Sarraute's Enfance benefits from. We will also examine how and why the second voice does not hesitate to penetrate it deeply for this evocation?
In the XX century, autobiography was a genre with great success which evolved because of Freud and psychoanalysis; of successful autobiographers, we can name Andre Gide, Jean-Paul Sartre and Nathalie Sarraute. The Freudian model finds a lever having provisions to clear the psychic terrain through the notion of the return of the repressed which does not remain buried in the abysses of the psyche but exerts a remarkable pressure to emerge in the consciousness by infiltrating what it can with all its peculiarities in form of contradictions, inconsistencies, and repetitions, in the very fabric of the manifesto, to the point of laying itself almost bare in some cases. Nathalie Sarraute only agrees with Freud on one point that all the autobiographies are false and Enfance subscribes, according to her, in the perspective of the renewal of literary forms speaking of her childhood tropisms. She avoids the risks of suggestion and indoctrination and answers the question of the problem of truth and the falsifications induced by resistance, namely the risks of narcissistic seduction and intoxication.
One of her new means of expression is her use of two opposing voices which never cease conversing in Enfance: the voice of the narrator who tells us about her life and, the voice of a double psychic critic who regularly interrupts the narration to warn the narrator against the pre-established patterns which account for adulteration of autobiography. The text begins with a theatrical dialogue in which we find the playwright. These states of consciousness gradually hide the character behind a game of questions and answers. In fact, you have to go from the preverbal sensation to the word of the character. It is an age-old deluge of the court of conscience which will be expressed and explained by the outside world. This is what she calls dialogue. The dialogue is the result of internal battles and the characters are those of many movements, advanced from the depths. The most important point is to manage to grasp a truth, this deep truth is, in principle, unattainable, that Nathalie Sarraute seeks in what she calls tropisms as primitive movements, they are at the origin of our gestures, of our words, of the feelings that we manifest and appear to us to constitute the hidden source of our existence. Tropisms play an essential role in Sarraute's work whose language is not influenced by the outside world, a language which Julia Kristeva calls real semiotic language, defining the deep self. This is therefore opposed to the symbolic or imaginary language that we use to adapt to and communicate in our society. The double also takes the posture of an attentive psychotherapist by using words dear to N. Sarraute exploring the blurred areas of the subconscious. It forces the narrator to delve deeper to analyze her reactions towards others, to avoid the risks of suggestion and indoctrination, to report information on the past, and to then hesitate between a critical posture and that of an actor present at the time.
Sarraute in fact rejects the traditional form of narrative, which places Enfance outside the usual definition of autobiography. It is not a question of simply relating facts, according to B. Vercier: “I was born, my father and my mother, the house, the rest of the family and the first memory ...” (Vercier, 1975: P. 1033). Multiple techniques are used for a linear temporality; the fragmentation of the text is shown in form of very short passages and the moments are juxtaposed and presented without cause-effect links. Nathalie Sarraute was unable to avoid an autobiographical dimension despite the absence of a confession.
N. Sarraute has created a new type of free reader who is left to fill the silences represented by discontinuities of the sentences and a new autobiography which appears as a true matrix of the whole work, which is revealed by the many experiences which resurface in the stories and theatrical plays. Classic literary autobiographies rely on formal requirements. However, these formal aspects would lend themselves particularly well to defense and disguise. This is one of the reasons for Freud's hostility toward the arts, in particular the arts of visual artists: “Meaning does not matter for these gentlemen; they only care about the line, shape, concordance of contours. They give in to the pleasure principle.” (Freud, Jones, 1998, p. 321) Sarraute is thus interested in the latent content of the work, in the truth pushed back to the depths of the unconscious, fearing the power of dissimulation offered by the search for perfection and beauty formal. Only the truth of the unconscious counts. Therefore, anything that can obscure it results from resistance and, hence, deserves our consideration.
خلاصه ماشینی:
Nathalie Sarraute cherche dans ce livre, Enfance, à retrouver ce qui crée la personnalité, se consacrant à reconstituer ses premières rencontres avec les mots, le plaisir de la lecture et l'activité de l'observation d'une conscience individuelle par elle- même dans l'écriture à deux voix qui présente ce texte sous la forme d'un dialogue entre son moi et son surmoi, en obligeant l'entreprise autobiographique à une vérification en même temps conservant et précise.
69) Nous venons de voir selon Lejeune, l'auteur qui prétend faire le récit de sa vie conclut avec le lecteur un « pacte autobiographique » qui établit que l'auteur, le narrateur et le personnage principal sont une seule et même personne et que cette personne s'engage à raconter la vérité, sans rien déguiser et nous venons d'étudier comment Nathalie Sarraute crée en général son œuvre en tenant compte ces bases théoriques.
Nathalie Sarraute discute avec Français Marie Banier11 qu'elle est seulement d'accord avec Freud sur un point que toutes les autobiographies sont fausses et Enfance s'inscrit, selon elle, dans la perspective de renouvellement des formes littéraires parlant de ses tropismes d'enfant.
Le point le plus important est de parvenir à saisir une vérité, cette vérité profonde est, par principe, inatteignable, que Nathalie Sarraute cherche dans ce qu'elle appelle les tropismes comme des mouvements primitifs, ils sont à l'origine de nos gestes, de nos paroles, des sentiments que nous manifestons et nous paraissent encore pour constituer la source cachée de notre existence.