Abstract:
L'œuvre de François Bon (1953) comprend un vaste corpus explorant les différents endroits de la ville contemporaine en s'appuyant sur ses expériences vécues du monde sensible. Dans Paysage fer qui a été publié en 2000, il parle de la rencontre du ‘monde vécu’ et d'un ingénieur qui, vu son travail, fait chaque jour un voyage en train. C'est sur les rails du réseau ferré que naît l'écriture. Le narrateur s'aperçoit à cœur de ses voyages, des phénomènes divers qui lui relèvent des aspects sombres du monde. Il voit, entend, imagine et crée enfin un nouveau paysage du monde qui l'entoure. Ce paysage est défini, selon Michel Collot, comme une image du pays perçue par un observateur. Ici, nous découvrons un paysage éparpillé dont chaque morceau est constitué sous l'influence de l'un des multiples voyages du narrateur ; un paysage qui s'étend sur l'imaginaire au fur et à mesure qu'avance le train. Comme si le narrateur complétait graduellement un puzzle. La perception de cette scène en mouvement et l'apparition des images mènent enfin à la réalisation d'une géographie et d'un pays intérieur qui sont tout d'abord perçus, ensuite imaginés, et construits. Se reflétant dans l'écriture, ce processus mène à la conception du sentiment-paysage, de la pensée-paysage et de la page-paysage dans le livre.C'est en se basant sur les principes élaborés par Michel Collot dans son livre intitulé Pensée-Paysage (2011) que le présent propos s'efforce de relever des enjeux de la reconstruction de ces paysages dans Paysage fer de François Bon.
ااثار فرانسوا بن (1953)، مجموعه ای گسترده از اثاری را در برمیگیرند که مناطق مختلف شهری را در مینوردد. او در یکی از اثار خود به نام منظره اهنی که در سال 2000 به چاپ رسید، از تجربیات مهندسی در ملاقات با جهان زیسته سخن میگوید که بخشی از ساعات زندگی روزمرهاش در مسیر ریلی میگذرد. در واقع نوشتار در این اثر، بر روی راهاهن زاده میشود و گسترش مییابد. روای در طول این مسیر با پدیدهها و تصاویر مختلفی روبروست که بر او پدیدار شده و زوایای تاریک و مبهم جهان را بر او اشکار میسازند. او میبیند، میشنود و تصور میکند و در نهایت منظری نو از جهان میافریند. این منظر، که نزد میشل کولو به عنوان تصویری از جهان درک شده از سوی یک ناظر مطرح میشود، به واسطه حرکت قطار، در خیال راوی ریشه کرده و در هر سفر گوشهای از ان ساخته میشود. درست مثل پازلی که به تدریج شکل میگیرد، یا همچون قطعات یک لوگو که کمکم روی هم قرار میگیرند و حجم واحدی را به وجود میاورند. این روایت در حرکت و ساخت تصاویر در نهایت به پیدایش جغرافیا و منظری درونی میانجامد که در ابتدا درک شده، سپس تخیل شده و انگاه ساخته میشود، منظری که در نوشتار انعکاس یافته و به تدریج احساس-منظر، اندیشه-منظر و صفحه-منظر را شکل میدهد. نوشتار پیش رو با تکیه بر نظریات میشل کولو در کتاب اندیشه-منظره (2011)، سعی در یافتن عناصر و روندی دارد که به پدیدار شدن این مناظر میانجامد.
ORN in 1953 in Vendee, Francois Bon studied mechanical engineering at the
Ecole Nationale Superieure d'Art et Metiers. After working for several years in the aerospace and nuclear
industries, he published his first novel Sortie d'Usine, at the age of twenty-nine. After continuing his
studies in philosophy in 1980-1982, now he is recognized as a prolific writer whose corpus counts more
than thirty works in different literary and artistic fields. He also organizes numerous creative writing
workshops throughout France.
His personal website, tierslivre.net, contains a large number of his works in digital format, as well as
his debates, lectures, conferences, etc. He maintains that his literary works are articulated on three
concepts: to express himself, to discover himself, and to leave himself. Focusing on a neutral view of the
modern world and refraining from any judgments, Bon produces through his work a world permeated
all over the daily and real-life of ordinary citizens of contemporary cities. The essence of these urban
experiences implemented by Bon, is the experience of workers, employees, and engineers who are
supposed to make work trips among different cities and of which Bon speaks, first of all, in Sortie
d'Usine (1982) (Factory Exit) and then in Paysage fer (2000) (Fleeting Frame) and Daewoo (2004).
Published in 2000, Paysage fer is based on the diurnal sequence of the life of an engineer who, given
his work, takes an every-day journey by the railway. In this book, we confront an autodiegetic narrator
who follows the tracks of a dream; that of the railway. Living in interdependence and interaction with
space, the narrator seeks to discover it; he inhabits the space that surrounds him and is not indifferent to
the environment that he perceives through the windows, the doors of the train, or the space he occupies
each time in the same compartment. This narrator, about whose privacy we know almost nothing,
observes throughout his travels a world that appears to him anew and strives to rebuild it. He peacefully
welcomes the world, which appears to him on the railroads and lives an interaction with the world
surrounding him, while creating an inner country and rejecting any relationship with others. He thus
tells a linear narrative in which the reader does not encounter any adventure or accident. In other words,
it is a kind of inner monologue in which the narrator-observer expresses to the reader his thoughts,
feelings, and positions on the world of iron and concrete that encircles him. Along this journey, the narrator
captures from this ironed world, another world that is based on his relationship with both the sensory and the
tangible, and transforms daily life into an experience renewed each day.
Taking into account this remarkable and sensitive experience, we strive to trace the "landscape" that
was born in this interaction with the surrounding world, in line with the principles set out by Michel
Collot in his book, Pensee-Paysage (2011). The notion of landscape proposes, according to Collot, the
The Reconstruction of Space in Paysage Fer by
Francois Bon*
Zeinab GOLESTANI DERO**/Nasrine KHATTATE***
Extended abstract : The Reconstruct ion of Space in Paysage Fer b y Fra nc o is Bo n…| 53
image of an expanse of the country seen by an observer, a mental construction, a representation, a real “subjective”. Using the concept of the simultaneous presence of the world and the subject, it is a perfect manifestation of what Husserl calls "the lived body": "Leib". This body that contradicts "the physical body": "koper", can design its own space. Articulating the near and the far, the visible and the invisible, the inside and the outside, this vertical body intersects the horizon line that allows him to structure the landscape. Moreover, Michel Collot affirms that a city becomes a landscape as soon as it is perceived by a subject as inserted in his environment and forming with him a whole, whose sensitive coherence has a sense. This urban landscape entails the images illuminating desires, fears, hatreds, loves, joys, and sorrows of the citizens who seek there a way of life and a form of organization. It is based on these thoughts that in this paper we attempt to identify two fundamental concepts in Paysage Fer, namely the "relationship with the sensitive world" and the "word crafting".
Here questions such as the following may arise: How the links among space, the narrator-observer, and the world are shaped? How do space and landscape appear to the narrator? How a world marked by monotony, industry, and mechanized system is transformed, in the narrator’s view, into a landscape that is renewed at every moment?
In fact, the narrator discovers the urban landscape in relation to its location in two different spaces, the first of which is the train and the interior space of the wagons and the second is the outer space of the city and the factories where he walks through once he gets off the train. Present work focuses on the images of cities that are perceived by the windows and are assembled into or complement each other as different parts of a puzzle. Each of these images that reflects a part of an industrial world dominated by the grey color of concrete, cement, and iron, gradually produces a personal space reverberated in all the experiences of the city’s narrator, in all his memories, and all his knowledge of geography and history. Thus, he creates his personal and unique geography throughout the narrative and draws an inner country that does not appear on any official map. Certainly, this inner country stems from the conception of a landscape, in the proper sense of the term, in the work, that is born once the body of the narrator meets the horizon line. In Paysage Fer, seeking to discover the landscape and thereby, reconciling with the world, the narrator initially perceives the world through his five senses. Then, he cultivates this perception and removes its defects through his imagination and memories. Eventually, he creates a landscape that is rooted in his feelings of the world, a landscape that unfolds as the train moves, and the narration proceeds. In truth, it is the landscape that while standing on the page and paper, offers a specific view of the contemporary city. The narrator perceives the city and all its characteristics such as repetition, monotony, and lack of nature, by heart. The creation of this landscape gives rise to the steady formation of a unique, inner, and subjective geography that is unraveled in the text and reflects ideas such as "sentiment-paysage" (landscape feeling), "pensee-paysage" (landscape thinking), and "page-paysage" (landscape page).