چکیده:
La question de genre reste toujours l’une des problématiques remarquables chez la plupart des écrivains et théoriciens. Raymond Queneau n’en est pas exclu. Il parodie les Surréalistes en imitant le genre "romanesque" qu'ils ont d'abord refusé puis pratiqué. Lorsque Queneau décide d’écrire Les Fleurs bleues, l'œuvre étudiée dans cette recherche, il est totalement contre les idées et les attitudes du groupe de Breton. Ainsi, dans ce livre peu «surréalistique», Queneau tente de parodier la classification générique (les cinq principaux genres littéraires: la poésie, le roman ou le genre narratif, le genre théâtral, le genre argumentatif, le genre épistolaire) en rédigeant un roman ayant le genre hybride. En effet, le genre estimable selon Queneau n’est ni le genre idéal et merveilleux que proclame le surréalisme qui se méfie du genre romanesque et l’exclut, ni les genres classifiés. Ainsi, la question qui se pose et à laquelle cette étude tentera de répondre, est celle de relation de Queneau avec le roman en tant que genre littéraire et forme esthétique. Au cours de cette recherche, nous nous interrogerons sur le genre auquel appartient l'œuvre de Queneau, Les Fleurs bleues, et nous démontrerons que ce roman présentant une hybridation de sous genre, pourrait être classifié comme un roman historique et en même temps comme celui de policier.
نقیضه پردازی یکی از مفاهیم بسیار ابهام برانگیز حوزه ادبیات است. ما همه روزه این مفهوم را به صورت ناخود اگاه به کار می بندیم و یا کاربرد ان را در محیط اطراف خود می بینیم. هنگامی که از نقیضه سخن میگوییم، نام بردن از کنو اجتناب ناپذیر است. او در سال 1924 به گروه سوريالیست ها پیوست و کتاب گلهای ابی را در سال 1965 پس از کناره گیری اش از جریان سوريالیسم نوشت. این رمان از ساختار داستان نویسی پیچیده ای برخوردار است.از میان تمامی بیش متن ها، در این تحقیق بیشتر بر نقیضه سازی مکاتب و اصول ان نزد کنو متمرکز می شویم. او مکتب سوريالیسم را با زیر سوال بردن مفاهیم و اصول پایه ای ان ها به نقیضه می کشاند. اما سوال اصلی و شاید به گونهای خط مشی این تحقیق، بررسی راهکارهایی است که کنو برای نقیضی نمایی مفاهیم مبین و شاخص مکتب سوريالیسم به کار میبندد: اول اینکه، کنو چطور این مکتب را از طریق تخریب تصویر ذهنی خواننده زیر سوال میبرد و چطور تمام نظریات سوريالیست ها را راجع به گونهی ادبی به نقد می کشاند، و در اخر اینکه اثار او به چه گونه ی ادبی تعلق دارند؟
The question of "litteray genres" still remains one of the outstanding issues for
most writers and theorists. Raymond Queneau is not excluded. The notion of "genre" in the traditional
sense of the term is challenged by some contemporary writers and critics. One of the literary groups that
tries to practice hybrid genres in various aspects of literature is the Oulipo (Workshop of Potential
Literature); it seems that the members of this group, and Queneau in particular, try to blur the boundaries
of genres. Thus, it is inevitable to speak of "generic games" when it comes to the case of Queneau (1903-
1976). The novelistic work of Queneau dates from a rather particular period in the history of the French
novel, it is located between the twilight of the realist and naturalist movement and the apogee of the
New Roman.
When Queneau decides to write his novel, he is totally against the ideas and attitudes of the Breton
group. Note that Queneau never refused the impact of surrealism on his writing and his imagination; it
therefore does nothing but parody some principles of this literary movement, especially its rejection of
romantic genres. For Breton, there is a place for beauty, love and lyricism, it is for this reason that the
favorite and most beautiful genre of surrealism is poetry, which constitutes one of the three components
of the surrealist triptych "love, freedom , poetry ".
In 1924 Andre Breton wrote in Le Manifeste du Surrealisme: " The marvelous is always beautiful, any
marvelous is beautiful, only the marvelous is beautiful" (Breton, 1995: 34) . Thus, it is only in the fine
arts and poetry that the surrealist transformation of the marvelous is visible. Considering the novel as an
inferior genre, the surrealists rejected all author-controlled writing and favored those that were
spontaneous or experimental. In the founding theoretical texts of this movement, surrealism condemns
the novel, or more precisely the realistic and naturalistic novel.
The story told in Les Fleurs bleues is on the one hand that of Cidrolin, an unusual individual who lives
on a barge and lives in the sixties, and on the other hand that of the Duke of Auge, a medieval character
who seems travel through history to the time of Cidrolin. Les Fleurs Bleues (1965) retraces the story of
the Duke of Auge, from 1264 to 1964. The protagonist, appearing every 175 years, straddles History. This novel has twenty-one chapters and it presents the five historical periods of France that the character should pass from one to another inside the chapters. Indeed, Cidrolin and the Duc d'Auge are two narrators of the story and each in turn narrates an entire chapter. One of the characteristics of the novel is that when one of the characters falls asleep, he begins to dream of the second and this produces a sort of transition between the chapters. It thus becomes impossible to understand who is dreaming of whom. The interference of different periods of history invites the reader to distinguish Les Fleurs bleues as a historical novel. Queneau specifies that his novel would respond to very strong constraints. History is therefore the main theme of this work. In a sense, Les Fleurs bleues explores themes from the historical novel, taking up "real" events and characters.
We have chosen Les Fleurs bleues as the corpus of this study. This choice has several reasons. On the one hand, it is the so-called main work of the author who presents a strong taste for parody. On the other hand, it questions and parodies the principle of surrealism concerning the refusal of the romantic genre and to insert it into a kind of "era of suspicion". During this research, we will wonder about the genre to which this work of Queneau belongs. But before focusing on the question of gender in this novel, we will try to briefly explain the relationship that Queneau undertakes with surrealism. Then, by implementing the traces of History and the police intrigues present in Les Fleurs bleues, we will try to answer the question that this novel could ultimately be classified as a historical and detective novel.
No genre was foreign to Queneau because he was a great reader. The generic complexity that exists in his works gives an undeniable richness to his creation in this field. Indeed, the true genre according to Queneau is neither the marvelous and ideal genre proclaimed by surrealism, which distrusts the novelistic genre and excludes it, nor the classified genres. We notice a sort of hybridization of genres or sub-genres in all of Queneau's works. He enjoys exhibiting the conventions of the novel genre. By laying bare the invisible mechanisms of the novel, he makes them play against meaning: the reader can no longer adhere to the fiction, he understands that it is only a farce. He therefore follows the story of the characters with a certain seriousness and a certain interest, but at the same time he is aware of the game of the romantic genre. In general, Les Fleurs bleues is considered as a field of investigation of the mixture of subgenres. It is Queneau's concern for the deconstruction of generic boundaries that leads us to the study of this questioning.
He parodies the Surrealists by imitating the genre they first rejected and then practiced. When Queneau decides to write Les Fleurs bleues, novel studied in this research, he is totally against the ideas and attitudes of the Breton's group. Thus, in this not very “surrealistic” work, Queneau criticizes the school of surrealism by parodying its fundamental principles. Indeed, the question that arises and to which this study will try to answer, in an inevitably partial way, is that of Queneau's relationship with the novel as a literary genre and an aesthetic form. During this research, we will ask what genre does Queneau's work belong to?