Poetique de l'invective chez Louis-Ferdinand Celine et Rejean Ducharme.

摘要

This work describes and interprets the aesthetic forms of verbal violence in Louis Ferdinand Celine and Rejean Ducharme's novels. The term invective covers fight, conflict, and quarrel. Because this concept is analysed as a "writing fact", the study privileges the structural and aesthetic dimensions of the fictional discourse. Invective is postulated to be as a verbal action, its performance being based on movement, path, and way (vectum). The position taken by the invective actor is analysed as a posture, a way of standing. The orientation, the inclination, and even the incline of the violent discourse represented in fiction are studied.; This thesis studies rhetoric and pragmatics of Celine's and Ducharme's novels. It contributes to the definition of the poetics of their works and helps to understand their influence on the social and literary discourses. This method crosses many fields of culture and literature, such as linguistics, sociology, psychoanalysis, and philosophy. The theoretical approach is plural: it includes pragmatics, rhetoric, narrative semiotics, and also considerations on fictional enunciation. Cultural studies are also used since invective reveals taboos in the social discourse. These topics are addressed through comparative analyses between Celine and Ducharme.; This work shows that Celine and Ducharme use violence strategies to create challenging writings. These authors have a good standing on the cultural and literary scenes but they break social and aesthetic rules. In Celine's novels, violence is ostentatious, in Ducharme's novels, it's more unpredictable and charming. The actor of violence created by Celine fights the French society and he sees his situation in a glorious way. In a different way of thinking, Ducharme's writings consider dodging as a founding movement. This attitude is prescribed by the Quebec social consensus which conceives dodging as the only response to violence. The points of view of the two authors are thus different; however, yet they do not establish a hierarchy since dodging is also a provocative strategy. Communication has particular consequences in fiction because the violence is independent from the author's voice. The violence is frightening but it is also a scheme upon which a relation with the reader can be created.; Key-words: verbal violence; Celine; Ducharme; fictional enunciation; social discourse; pragmatics; rhetoric.