چکیده:
Depuis la doctrine de l’Ut pictura poesis, l’on découvre une piste d’analyse assez intéressante sur les rapports de la littérature et de la peinture. L’analyse de l’œuvre malrucienne, à la lumière des interactions suscitées par Mikhaïl Bakhtine, montre qu’elle est constamment en dialogue et continûment régenté par les arts du musée, au nombre desquels la peinture tient une place singulière. Cet article montre que La Condition humaine, L’Espoir et Les Conquérants sont une sorte de récit hybride ayant intégré des techniques et procédés picturaux, des personnages artistes peintres et des descriptions chromatiques, phagocytant la narration et reléguant parfois le récit au second plan. Cela dit, cette propension à l’hyper-référentialisation ou à la modélisation de la pratique picturale crée une synesthésie visuelle, transformant le texte en un catalogue, en un tableau, en un musée. Ainsi le mélange littérature/peinture, le mixage de leur structure et le dialogue entre ces genres sont-ils l’expression d’une esthétique polyphonique ou interartiale dans le roman de l’auteur français.
از اموزه Ut pictura poesis، ما یک خط تحلیل نسبتا جالب در مورد رابطه بین ادبیات و نقاشی کشف می کنیم. تحلیل اثر مالروسی در پرتو تعاملات برانگیخته شده توسط میخايیل باختین نشان میدهد که پیوسته در حال گفتوگو است و پیوسته تحت سلطه هنرهای موزه است که در میان انها نقاشی جایگاهی منحصر به فرد دارد. این مقاله نشان میدهد که La Condition Humaine، L’Espoir و Les Conquerants نوعی روایت ترکیبی هستند که تکنیکها و فرایندهای تصویری، شخصیتهای نقاش و توصیفهای رنگی را در خود ادغام میکنند، روایت را فاگوسیته میکنند و گاهی روایت را به پسزمینه میرسانند. با این اوصاف، این تمایل به ارجاع بیش از حد یا مدلسازی تمرین تصویری، یک حس حسی بصری ایجاد میکند و متن را به یک کاتالوگ، به یک نقاشی، و به موزه تبدیل میکند. بنابراین امیختگی ادبیات/نقاشی، امیختگی ساختار انها و گفتوگوی بین این ژانرها، بیان زیباییشناسی چندصدایی یا بینتصنیفی در رمان نویسنده فرانسوی است.
FROM the doctrine of Ut pictura poesis, we discover a rather interesting line of
analysis on the relationship between literature and painting. The analysis of the malrucian work, in the
light of the interactions aroused by Mikhail Bakhtin, shows that it is constantly in dialogue and
continuously ruled by the arts of the museum, among which painting holds a singular place. That said,
how, in such a context, does the pictorial device make it possible to inscribe malrucian fiction in the
wake of heterogeneous narrations and undecidable narratives? Furthermore, what issues underlie such
a practice? This article shows that La Condition humaine, L’Espoir and Les Conquerants are a kind of
hybrid narrative that has integrated pictorial techniques and processes, painter characters and chromatic
descriptions, phagocytizing the narration and sometimes relegating the narrative to the background. That
said, this propensity for hyper-referentialization or modeling of pictorial practice creates a visual
synesthesia, transforming the text into a catalog, into a painting, into a museum. Thus the
literature/painting mixture, the mixing of their structure and the dialogue between these genres are the
expression of a polyphonic or interartial aesthetic in the novel of the French author.
Indeed, malrucian novels are traversed by elements of pictorial transposition under the seal of
interartial dialogue. From this angle, we are witnessing numerous insertions of art objects likely to
immerse the reader in a space of dissemination or exhibition. Everything happens as the primary
objective sought by the author is to install his reader in a form of pictorial aesthetics, precisely in a
museum. In doing so, he highlights the fact that the story is the essential place of hand-to-hand contact
with pictorial expressions. In addition, the author refers to many famous paintings and painters, at the
same time peppering his text with intertextual hyper-references. By mentioning emblematic figures such
as (Pablo) Picasso, Georges de La Tour, Greco, Malraux gives his texts a real intertextual but above all
semiotic depth.
Yacouba KONE **/ Irie Alain TIE BI***
Yacouba KONE — Interartial Reading of the Novels of Malraux. For a Poetics of Painting … | 131
Moreover, the French author models his text according to the strategy of framing. The framing consists, in fact, of surrounding a painting with a border, which limits and clarifies the framing. It is then a question of protecting the painting by highlighting it. Also, in the malrucian text, the framing becomes an orientation that the gaze imposes on the reader. For the novelist, it is a question of circumscribing, of framing a set of phenomena that he wants either to denounce or to aestheticize. Malraux also innovates by colouring all of his texts. The French author superimposes novel/painting through the language of colors and tints, making his novels a visual representation. Thus, like the painter, having a specific language, which of colors allows Malraux to make «paintings», «frescoes», contributing to make his novel a colorful painting.
The question of pictorial hybridization in the malrucian text is also seen from the angle of the presence of various characters. The protagonists of Malraux's novels are distinguished by their love for the arts and particularly for the plastic arts. Even if there are passive characters in La humaine Condition in front of the artistic thing, the majority of the protagonists, however, live to the rhythm of pictorial art. The painting then becomes an object of quest for the characters. Above all, the presence of painting in the malrucian novel installs joy by also impacting the psychology of the character but above all that of the reader. The insertion of painting in the novel then asserts itself as a mixed and heterogeneous practice serving as a motif for a generic pluralism where the combination and the meeting of several styles and forms emanating from the arts and the media materialize, pushing for an approach interartism of the narration