چکیده:
« Je suis obligé de tisser ces longues soies comme je les file, et si j’abrégeais mes phrases, cela ferait des petits morceaux de phrases, pas des phrases », notifiait Proust dans une missive adressée à Robert Dreyfus. Ainsi, à la suite de Victor Hugo qui semblait disposer d’une longueur phastique ample, Marcel Proust écrit une phrase de longue haleine dans Sodome et Gomorrhe. Celle-ci met en résonnance, à travers la perception sociale, la persécution des invertis. Assimilé au récit, ce fragment textuel est dénommé « phrase-récit ». À cet effet, la « phrase-récit » ou le « récit phrastique » composé(e) de propositions juxtaposées, de propositions transposées, de propositions parenthétiques est analysée sous l’angle sémiotique et l’approche ricœurienne du récit. L’étude permettra de déterminer, par le truchement du décryptage syntaxique, la construction narrative inscrite dans cette section de l’œuvre proustienne. Ce procédé transcriptionnel détermine l’auteur de la Recherche comme le porte étendard des invertis.
پروست در پیامی خطاب به رابرت دریفوس گفت: «من مجبورم این ابریشمهای بلند را ببافم، و اگر جملاتم را کوتاه میکردم،
تکه های کوچکی از جمله ها درست میشد، نه جملات». از این رو، مارسل پروست به پیروی از ویکتور هوگو، که جملات طولانی استفاده ».
میکرد، جملهای بسیار طولانی در سودوم و گومور نوشته است، اثری که مصايب همجنس گراها را از طریق ادراک اجتماعی، به تصویر
نامیده می » جمله-روایت « ، میکشد. این بخش از متن که در این مقاله به بررسی ان خواهیم پرداخت، به دلیل شباهتی که با روایت دارد
که متشکل از گزارههای کنار هم، گزاره های جابجا شده و گزارههای معترضه میباشد از زاویهی » جمله-روایت «، شود. در این مقاله
نشانهشناسی و رویکرد ریکوری روایت تحلیل میشود. این مطالعه امکان تعیین ساختار روایی مندرج در این بخش از اثر پروستی را از طریق
رمزگشایی نحوی ممکن می سازد .
Marcel Proust is known for his phrasal length. However, he follows Victor
Hugo who had preceded him in this task. The observation of his narrative technique at the level of the
sentence invites to generate the French neologism of "story-sentence". Indeed, in a textual fragment of
Sodom and Gomorrah, which seems to be the longest sentence in the whole of the Research, the narrator
holds a long speech that resonates with the persecution suffered by the inverts.
"I am obliged to weave these long silks as I spin them, and if I were to shorten my sentences, it would
make little pieces of sentences, not phrases," Proust notified in a missive addressed to Robert Dreyfus.
This one puts in resonance, through the social perception, the persecution of the inverts. Assimilated to
the narrative, this textual fragment is called "sentence-narrative" or "story-sentence". To this end, the
"narrative-sentence" or the "phrasal narrative" composed of juxtaposed propositions, transposed
propositions, and parenthetical propositions is analyzed from the semiotic angle and the Ricoeurian
approach to narrative. The study will make it possible to determine, through syntactic decoding, the
narrative construction inscribed in this section of Proustian work. This transcriptional process
determines the author of the Research as the standard bearer of the inverts. The historical-human
relationship reveals in Proust a syntactically chopped "narrative-phrastic", thus highlighting a "race"
martyred by society.
Rather than apprehending it in a morphosyntactic formalization, the "narrative syntax" is conceived
in the intersubjective communication of the actants-subjects about the object leading to the quest. In
other words, it does not focus on the formal construction of the narrative. Rather, the intercommunicative
relationship of the subject-inquirers (concerning the object of the quest) and the addressee-subjects, in
the narrative process, remains its anchor.
Faced with the polysemous aspect of the sentence and the multiple concepts formed from it, it is
important to submit an apprehension of the linguistic context of "story-sentence". The latter (concept)
notes a semantic synergy of the two particles of the word-value insofar as one influences the other to
produce a meaning according to the narratological paradigm. In this circumscription, let us emphasize
that it designates strictly speaking the narration of a story that is carried out in a sentence. Explicitly,
this narration - from a scriptural point of view, since this is the area of interest of the study - must be
punctuated upstream by a capital letter, and, downstream, by strong punctuation (question mark,
terminal or final point, etc.). Thus the "story-sentence" is the revelation of a narrated story divided between two fundamental signs: a capital letter and a final punctuation. The latter can be expansive or compressive. At the origin of the conceptual formation of this word is the observation of a textual fragment of the Research after which The Miserables was known, although it was an earlier text than the first.
From the outset, the narrator introduces the textual or phrasal sequence with a syntagmatic enumeration. It should be pointed out that the Proustian "story-sentence" comprises innumerable propositions if we take into account those in the parentheses and the transposed speeches. If the initial situation, in a narrative, is meant to be an exposition or a stability in the field or in the narrative scheme in Paul Larivaille's work, it seems essential to point out that the situation of the Proustian "narrative-sentence" is conceived exclusively in the second proposition, and partly in the first proposition. In fact, the propositional arrangement is an anachronism that began in the first volume of the Research. Let us rightly recall this earlier procedure. "Un amour de Swann", constituting the second part of Swann’s way, is, a priori, a narrative that precedes the other two; since the first sequence "Combray" and the third "Noms de pays" relate the narrator's childhood, while the episode of Swann puts in resonance the latter's amorous adventures. These are antecedent to the birth of the subject-narrator. In this deconstructivist sequence, the narrator's immersion ab ovo in the story's framework appears. The case is reiterated, here, in the propositional series of the "narrative-sentence". In this respect, the reader who is in media res in the narration will take care of the chronological (re)construction of the story in the sense of Claude Bremond or Paul Larivaille who also advocates a logical sequence during the narration. So, Proustian narration is essentially anhistorical.
As for the first proposition, from a proleptic point of view, it reveals the element that blurs the quietude of the exordium. Like the configuration of a detective story, which proceeds from the announcement of the subject of the investigation at the beginning of the work, the Proustian narrative mentions the "crime" on which the narrative continuation of the "narrative-sentence" will focus. At first, the reader approaching this textual fragment cannot ad rem determine the crime in question. By means of the nominal group "the discovery of the crime", it is thus brought to the knowledge of the reader, the societal fracture (loss of freedoms) which is due to the action of a crime. On the other hand, this malicious action (crime) is not yet identified. The reader would then be tempted to wonder about it; from then on, a "narrative tension" begins, according to the Baronian formula. The narrative construction in the corpuscle passage is arranged by juxtaposition with a transposed proposition. This scriptural procedure is described by Philip Kolb as an assemblage of piece, offering a perfect example of the composition employed by Proust concerning the linking and interweaving of the threads of the narration.
The notional polysemy of "syntax" and "sentence" denotes the lack of definitional standardization. The exception is etymological semantics, which is more or less apparent in the different approaches. In this respect, let us remember that the meronymic practice participates in the assimilation of syntax to the sentence; and the so-called holonymic practice translates the opposite side, i.e. the assumption of responsibility for the sentence by syntax. As for the conceptualization of "sentence-narrative", it can be envisaged in the symbiosis, the semantic homogeneity of the two particles. Thus, it translates the narration of story included between the beginning of a letter (whether it is capital or not) and the end of the thought (whether there is a final punctuation or not, following the example of the novels of Georges Perec and Phillipe Sollers, to quote only these two). Marcel Proust seems to (re)configure the sentence-narrative to which the authors of "phrastic novels" subscribe, from the 1960s onwards.
The stylistic effect produced in Proust's "story-sentence" denotes the hyperhypotactic construction through which a sedimented story is told. The flow of narrative discourse highlights a character who has a discursive expansion to express about those he considers oppressed. The nodal situation generally succeeds the so-called initial one; and, it begins where the first one ends. However, we note that the
interfering or disruptive element of the quietude is intermingled with the exordium. It should also be mentioned that incipit and excipit coexist in the same proposition. In other words, at the same time as the first proposition constitutes the upstream from the scriptural point of view, it represents the downstream in the semantic framework since it seems to close the narrative continuation by announcing it.
As the substantivation indicates, the excipit plays the role of a clausal formula in most cases. However, this proposition, although being at the end of the "phrasal narrative", seems to proceed to the development of the homosexual character whose inappropriate terminology of the society, according to the narrator, is "vice". Thus the social glance determines that of the ipseite. Reason for which the inverts hide their idiosyncrasy in order not to live the societal withering. Considered in this framework, it is obvious that the "crime" announced upstream of the narrative discourse constitutes an exhibition of the social perception. De facto, the expression of the "crime" represents, in this textual fragment, the homeostasis of the narrative.
Proust seems to use, for this purpose, what the German philosopher Ludwig Klages calls logocentrism. A predicate that allows the reader to learn about the transgression of linguistic (grammatical) norms in the formation of the complex sentence. Thus, all the propositions appear autonomous since they do not revolve around a centripetal proposition. Proustian writing connotes, de facto, a schizo-Genesian configuration of narrative art as presented in the corpuscular fragment. Hence, an autarkic language echoes in the writer's adoption of this scriptural strategy. The author of the Research proceeds by syntagmatic sedimentation, thereby structuring the syntactic profusion in the "narrative sentence". This discursive approach reveals the narrator's entanglement in a logorrheic, asphyxiating, even apneic attitude. A syntagmatic archipelago is thus conceived through Proustian scriptural practice. The latter would have, eventually, brought out the expansive sentences, scarred by pauses in the Simonian works.