خلاصة:
Le structuralisme et le formalisme ont tendance à décomposer les textes afin d’en étudier les constituants. Ce fait aboutit à la séparation de la forme et le contenu et donc à la séparation du temps et de l’espace, l’aspect narratif et l’aspect descriptif du texte. Ainsi, la description se définit-elle comme un mode de la représentation qui arrête la succession temporelle des évènements dans le récit et y exerce une pause temporelle. Pourtant, nous savons que les rôles attribués aux constituants du texte ne sont pas définitifs. Nous connaissons aussi certains types narratifs qui s’introduisent dans le récit, comme un récit enchâssé et y font la pause temporelle. Ceux-ci se trouvent dans un autre niveau temporel que celui où sont narrés les évènements du récit principal. Dans deux romans de Marie NDiaye, La Sorcière et Rosie Carpe, nous observons les récits de rêve qui se trouvent au même niveau narratif où sont rapportés les actions et les évènements principaux et y produisent une pause.
روشهای ساختارگرایی و فرمگرایی، متن را به اجزای تشکیل دهندهاش تجزیه میکنند. چنین رویکردی منجر به جدایی مفهوم ساختار از فحوا، زمان از مکان و در نتیجه جدایی بخشهای روایی از بخشهای توصیفی میشود. به این ترتیب، توصیف به عنوان شکلی از بازنمایی تعریف میشود که در روند روایت وقایع توقف زمانی ایجاد میکند. البته انواع روایی ای را نیز میشناسیم که با افزوده شدن به روایت اصلی در ان توقف ایجاد میکنند. اما این دست روایات در لایه زمانی متفاوتی از روایت اصلی قرار میگیرند، مانند تعریف خاطرهای در گذشته یا پیشبینی یا ارزویی در اینده. در دو رمان ماری اندیای، جادوگر و رزی کارپ، روایت خوابهایی را بررسی میکنیم که در خط زمانی وقایع روایت اصلی، توقف زمانی ایجاد میکنند. هدف این تحقیق نشان دادن ویژگی خاص روایت خوابهایی است که در همان لایه زمانی روایت اصلی قرار میگیرند و چنان با ان درامیختهاند که خواننده در مورد خواب یا واقعی بودن انچه میخواند دچار تردید میشود. این ویژگی با درون مایه سرگردانی در اثار اندیای تعریف میشود و معنا پیدا میکند.
From the outset of their activity, structuralism and formalism tend to break down
texts to study their constituents. Decomposition begins with the separation of form and content and ends
with the separation of time and space, the narrative side, and the descriptive side of the text. Thus, the
description defines it as a temporal pause in the narrative. However, we are aware that the roles attributed
to the constituents of the text are not absolute. Narration and description are two modes that are both
distinguishable and mixed in the narrative. Since Genette finds the descriptive examples that do not
pause in Proust, and Todorov notices the embedded narratives, we come to say that the role attributed
to the various textual features is not absolutely fixed. A story can also insert a further story and suspend
it and as we just said, according to Todorov the case is possible, although it is rare.
As far as our study goes, we want to show that even storytelling can take a temporal break in
storytelling. Our idea is not entirely original, because we have just spoken of the embedded narratives
which, by entering the main narrative, pause there. But we observe in Marie NDiaye's novels, stories of
a different nature that have the same effect: the dream story, the narration of which pauses, but it is not
distinguishable until the moment of awakening. We have chosen two examples that are very
representative, of the two novels: The Witch and Rosie Carpe. The succession of events in Lucie and
Rosie's dream does not advance the story. Neither like the analepses which return to a past event, nor
like the prolepses which foresee an event of the future, these segments take place at the same temporal
level of the main narrative: the events unfold one after the other, but we hesitate if they've really arrived
or not.
We will then dwell on Genette's narratological theory to study how the narration can pause the
narrative, like the description, without being inserted as an embedded narrative. We begin our discussion
of the concept of time in literary studies. The question of time and the temporal peculiarities of narrative
works were always the subjects of formalist and structuralist studies. In a way, these were concerned
with verifying how the creator monetized the time of history and the time of the events told and the time
of the narrative, therefore the question of the literary form. This, if it conforms well to the content,
guarantees the survival of the work. In the case of these two novels, although the two narrative segments
that we have chosen to show the narrative pause are the stories of the dream and therefore from a very
similar thematic point of view, it should be noted that each story is represented in a way strongly
significant concerning the structural set of each novel. Then we deal with the descriptive and narrative
features of the text.
Like the two main modes of narrative representation, narration and description coexist in almost all stories: the figuration of actions and events constitute the narration, and the representation of objects or the character, is the fact of this. which we consider the description. To summarize their particularities, On the one hand, we can conceive a text entirely descriptive text that represents objects in their spatial existence, without inserting them into an event with the temporal dimension. Conversely, it does not seem easy to design a purely narrative text. We know that narration is where the events and actions represented by action verbs take place, and action verbs are not devoid of descriptive resonances. On the other hand, the description seems to us more essential than the narration, because we can describe without telling but it is almost impossible to tell without describing. On the other hand, the description cannot exist independently in a free state in the literature. We know the purely narrative genres, such as the epic, the tale, the short story, and the novel. Although description occupies a prominent place in these genres, we don’t have a purely descriptive literary genre.
We will show how these two chosen scenes, despite their similar theme, are strongly attached, thematically and structurally, to the novel in which they are represented. This would mean that if the dream narrative can pause the initial narrative, it is because of its conformity to the novel as a whole. The same scene does not necessarily have this effect in every text.
The first case of the allusive dream with which we are concerned is found in the novel The Witch. This novel arises in the genre of magical realism, and the coexistence of supernatural elements in a realistic space-time situation can be accepted according to the pact of reading, from the title. The Animal Metamorphosis considers itself the most remarkable example of the novel's supernatural events, within the framework of a fairly realistic rural bourgeoisie. Lucie, the protagonist, is a witch who inherited her talent from her maternal origin, but she is not a talented witch. In general, a witch’s dream can be like a forecast, a leading sign. But what is the line between dream and reality for a clumsy witch? In the scene in which we are interested, Lucie stays in Poitier with her mother-in-law and spends the night in her husband's room. In The Witch, whose author has never expressed concern for being real and has always deviated from the banality of reality, the allusion to a historical event has the same function as in realistic novels. Yet the point is that the allusion is made during a scene in which we cannot decide whether it is a dream or a reality.
Another novel in which we see a time-break-type narrative is Rosie Carpe. But, we observe there a different temporal strategy than that of the dream scene in The Witch. Rosie, the protagonist, is a young pregnant woman who arrives in Guadeloupe with her son, to find her brother on whom she relies to reorganize her life. She has already spent horrible moments alone in France. One of those moments is in Antony, where she lives after the birth of her son, Titi. She works there in a hotel in a kitchen and then as a receptionist. Having settled there on a downstairs floor with her baby, one day Rosie suddenly meets her brother Lazare, who has become a vagrant type. He rapes the house of Max (Titi's father, who left Rosie to marry another woman) and makes himself at home there. All these events annoy Rosie and stop the flow of her milk. Rosie prepares a bottle for Titi, but he severely refuses the pacifier, screaming. In the excerpt we're studying, Aunt Rosie is exhausted from cooling the room by opening the window a crack, and we notice the same acts repeated three times.
To better understand the common characteristic of these scenes, let's imagine a film sequence representing a dream. Usually, directors tend to surprise viewers by deceiving them about what they are watching. Throughout the sequence of the dream, the viewer takes it as the truth and until the moment of awakening, he accompanies the character who is enjoying a dream or suffering from a nightmare. We can say that Marie NDiaye uses the same cinematographic strategy, by recounting the dreams of the character. In the pages devoted to the story of the dream, it arouses the illusion of the unfolding of the story, while the succession of events is broken by the succession of illusory events.