خلاصة:
Parmi les romans du XIXe siècle portant le nom de femmes, Nanon, écrit par George Sand
en 1871, se distingue par son choix de titre. Par son approche titrologique appropriée, l'auteur définit en effet une nouvelle identité féminine, peu reconnue dans la société française à l'époque. Une identité qui est indépendante du genre et de la classe sociale et qui résulte de l'individualité humaine. Mais la question qui se pose en accord avec cette définition identitaire est de savoir si le titre de l'oeuvre, ainsi que le pseudonyme de l'auteur, conduisent-ils à l'unité du protagoniste et de son auteur, ou au contraire, trace-t-il la frontière entre ces deux ? Et comment chacun de ces éléments - la dualité ou l’identité entre l’auteur et son héroïne- forment l’horizon de l’attente du lecteur ? Comment un lecteur, confronté à la dualité de l’héroïne et de l'écrivain, parvient-il enfin à réconcilier les deux dans tout le processus de lecture ? Cet article présente d'abord une analyse dans le domaine de l'anonymat et après avoir examiné la classe sociale dans laquelle vivait l'auteur, tente de représenter l'image inversée qu’elle laisse d’ellemême, dans l'esprit du public.
در میان رمان‌هایی که با اسامی زنانه نامگذاری شده‌اند، نانون، اثر ژرژ ساند (1871)، از جهت انتخاب عنوان، درخور توجه است. نویسنده با این انتخاب، درحقیقت هویت جدیدی را برای زن تعریف می‌کند که قرن نوزده فرانسه ان را چندان به رسمیت نشناخته است؛ هویتی مستقل از جنسیت و طبقه اجتماعی و ثمره محترم شمردن فردیت انسان. اما سوالی که در راستای این تعریف هویتی مطرح می‌شود این است که ایا عنوان اثر، در کنار نام مستعار نویسنده، به یگانگی قهرمان داستان و نویسنده ان می انجامد و یا بالعکس، مرز جدایی میان این دو را رقم می‌زند؟ و هر یک از اینها - دوگانگی و یا یگانگی نویسنده و قهرمان - چه معنایی را در افق انتظار خواننده شکل می‌دهند؟ خواننده‌ای که در تمامی فرایند خوانش، با دوگانگی هویتی قهرمان و نویسنده روبروست، چگونه در انتها موفق می‌شود این دو را با هم سازش دهد؟ این مقاله ابتدا تحلیلی در حیطه نام‌شناسی ارايه می‌دهد وپس از بررسی طبقه اجتماعی که نویسنده در ان زندگی کرده می‌کوشد تصویر معکوسی را بازنمایی کند که وی از خود در ذهن مخاطب برجای می‌گذارد.
Two literary currents were formed in the 19th century .On the one hand, women
writers publish their works under male names, and on the other hand, novels are titled by women’s
names. When these two strategies overlap, they lead the public to have a specific reading of the text.
Among this type of novel, Nanon, written by Amandine-Aurore-Lucile Dupin, (1804-1876) in 1871, is
remarkable for its titrological choices. In the period when women are reduced in their identity to a
minimum representation, "lady", "miss" and "Mrs.", the author publishes her work under a masculine
name: George Sand. Many women in the 19th century followed the practice that Sand made fashionable
and which will continue to this day. Among these writers, we can remember Marie d'Agoult, Victoire
Leodile Bera, Marie Saffray, Jeanne-Caroline Violet, Jeanne Ichard, Angelique Bourcier, Alice Marie
Celeste Fleury, and many others whose list of names goes beyond the scope of this study but certain is
by George Sand this practice becomes fashionable at the time. Through her appropriate titrological
approach, the author defines a new feminine identity, little recognized in French society at the time; an
identity independent of gender and social class and resulted from human individuality. Rich in the
politico-historical side, Nanon contextualizes the pre-revolutionary period, reveals the literary, social,
and family aspects of the author's life, and also relates a love between a poor village girl and a nobleman.
The story takes place in Berry, the rural region that forms the backdrop for Sand’s works. The
protagonists are caught up in a difficult and sometimes dangerous daily life, but they resist bravely.
Emilien, kidnapped by the revolutionary court, is saved thanks to Nanon who disguises himself as a man
to free her friend from prison. They take refuge in Valcreux, a deserted land where they await the end
of the Terror. The girl refuses to share sexual love with her lover whom she wishes to respect as a
brother. This is a feminine novel in which a woman seeks to exist and to fulfill personally herself. The
heroine is disguised in a short period as is its creator in all her professional life. This travesty is
interpreted, in its romantic form, as the complicity between the character and the novelist, and constitutes
the permanent support for a title's reading. But the question that arises according to the identity definition
is whether the titles have gender and if so how are they read through titrological sexuality? The author's
pseudonym and the novel’s title, do lead to the unity of the protagonist and its creator, or on the contrary,
do they draw the border between these two? And how do these elements - the duality or the identity
between the author and his heroine - form the reader's horizon of expectation? How does a reader, faced
with the heroine-writer duality, finally reconcile the two in the whole reading process? This article
presents an analysis of anonymity studying the name as a paratextual element. Then it proposes a
contextual analysis to situate the author in the circumstances which push him towards the transvestite
and it tries to represent the author in the public’s mind. Finally, we challenge the reader's (de)sexualized
point of view to discover his aesthetics of reception.
In the first part, we treated the title from its nominative function that is what helps to insert the character into the narrative movement of the text. We have shown that the title is stripped of any informative role. But there is still a Sandienne desire there so that the title from the start of reading enters the messaging process. By treating etymologically the first name that titles the novel, we indicated that the text can anticipate anti-sexist content from the beginning. The syllabic divisions of the title in parallel with the pen name that the writer chooses for herself testify to both the whimsical and autobiographical aspects of the work. This twofold aspect can go a long way to guaranteeing the credibility of the story because it lies in the experiences that the writer has had in her private life. Next, we moved on to the relationship that this double name establishes with the Sand’s ideal for political socialism imbued even with aristocratic tendencies. The devices offered by the titles provide an inverted mirror that reflects the image of the author in the character and they bring two social origins into a political interaction although they are in a paradox. Within this interaction, it will be the role of literature that is called into question. Sand using her false identity defends the aristocracy from which she came, but she does so in an implied way. We went even further by asking ourselves the function of such onomastic strategies in the development of an asexual reading of the text. By the way, the masculine enunciation and the narration that tries to keep a sexually neutral tone denounce the writer's goal of writing such a feminine novel. The quotes we bring back from the novel link the author's opinion on women's effectiveness in all areas, but the author is not very revolutionary in his feminist demands. The absolute negation of the gender division between feminine and masculine traps the reader in a constant judgment of gender discrimination but George Sand walks her path cautiously by giving priority to the correct march of society towards human rather than anti-sexist values. Her attachment to the aristocracy also gives her pen a more reflective look, especially when it comes to describing the revolutionary Republican movements against the Old Regime. This explains his titrological choice for a novel endowed with strong political aspects. Although we are a long way from the age Sand dates back to, the feelings of fear and dread are keenly felt. In the aftermath of the war of 1870 and the Parisian commune, Sand expressed her rejection of the excess of violence which, according to her, hijacked and annulled the Revolution of 1879. With the passage of a popular and manly name, George Sand removes the effect from coquetry to her feminine pen while aiming for a desexualized reading of her work which she has titled in a non-sexist way. The onomastic choice puts the daring writer on the safe side. This security translates to mutual consent in the author-reader relationship when the reader understands the need for such a strategy to invest the reader's mind.
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