Abstract:
Cet article, en recourant à l'approche de Philippe Hamon sur L'Ironie littéraire, Essai sur
les formes de l'écriture oblique (1996), a pour objet d'étudier l’ironie dans Les Choses de Georges Perec et les procédés qu'il met en oeuvre pour montrer cette ironie. Dans cet article, nous tenterons d'illustrer que pour critiquer la société moderne dans laquelle la publicité joue un rôle important, Perec profite de l'ironie. En se moquant des comportements et des pensées de ces deux personnages matérialistes qui sont incapables dans la connaissance du vrai et de la vérité, l'auteur utilise des éléments ironiques qui donnent un ton ironique au roman. Pour ce faire, il se sert des procédés comme le narrateur hétérodiégétique, la polyphonie, l'intertextualité, les figures d'opposition, d’insistance, d'analogie et de diction. Les éléments qui instaurent une distance entre l'énonciation et l'énoncé, entre le narrateur et son discours, entre le lecteur et les personnages du récit. Les procédures qui produisent un sentiment de distanciation et d'absurdité, essentiel dans l'ironie du XXe siècle.
هدف از نوشتن این مقاله، بررسی طنز در رمان «چیزها «نوشته ژرژ پرک، نویسنده قرن بیستم فرانسه میباشد. در اجرای این تحقیق با توسل به رویکرد فیلیپ امون در زمینه بررسی طنز در ادبیات، سعی شده است تا ظرافت بکارگیری طنز و فنون استفاده از ان، در نزد این نویسنده مورد مطالعه قرار گیرد. پرک با به تصویر کشیدن سبک زندگی یک زوج جامعهشناس پاریسی که از طبقه متوسط جامعه محسوب میشوند، در واقع به نقد جامعه معاصر خود میپردازد. پرک برای انتقاد رفتار و افکار این دو شخصیت مادیگرا، از لحن طنزامیز استفاده میکند و از عناصری مانند بینامتنیت و چندصدایی بهره میگیرد. ژرژ پرک برای تاکید بیشتر بر بعد طنزامیز این کتاب از صور خیال مانند برشماری، استعاره، پارادوکس، تضاد، بازی با کلمات و غیره استفاده میکند. در واقع، تمامی فنون بکار گرفته شده در این رمان در جهت ایجاد فاصله میان راوی و سخنانش، میان خواننده و شخصیتهای داستان و حتی میان راوی و خواننده میباشد، فاصلهای که نقش اساسی در طنز مدرن ایفا میکند. مطابق تحقیق و بررسی انجام شده، میتوان به این نتیجه رسید که ژرژ پرک برای نقد جامعه معاصر خود، یعنی همان جامعه مصرفگرا، از عناصر طنز کمک میگیرد. جامعهای که در عین غنی و مدرن بودن دارای فاصله طبقاتی زیادی میباشد. جامعهای که مردمش مادیگرا هستند و نیازهای کاذب بیپایانی را در خود احساس میکنند و در تلاش برای جستجوی خوشبختی به احساس پوچی و نیستی میرسند.
The Things (originally subtitled as "A History of the Sixties") is a novel by the
French author, Georges Perec, published in 1965 by Maurice Nadeau in his collection of New Letters,
at Julliard, and having received the Renaudot Prize the same year. In this novel, Perec tells the life of a
young psychosociologist couple in the 1960s. Though they live in Paris, they find their life monotonous
and then they dream to have more and more, to go on a trip and to become rich... but they do not give
themselves the means to reach their goals. They try in vain to seek a passion, a purpose or an idea to
give meaning to their lives. Sylvie and Jerome move to Tunisia, in Sfax, to test a new job offered to
them. It's a failure. They returned to France, first to Paris and then to Bordeaux, where they eventually
got a well-paid job. The last lines of the novel reveal that the material comfort they finally got, become
the beginning of a dull life.
This article, bested on Philippe Hamon's approach in L'Ironie litteraire, Essai sur les formes de
l'ecriture oblique (1996), aims to study irony in Georges Perec's "The Things" and to clarify the
processes used by him to show this irony. In this article, we will try to illustrate the reason why Perec
prefers to take advantage of the irony to criticize the modern society in which advertising plays an
important role. By mocking the behaviors and thoughts of these two materialistic characters, incapable
to accept the truth, the author uses ironic elements, giving an ironic tone to the novel. The article consists
of two parts:
The first part focuses on the literary register used in the novel. Perec wrote the novel in three important
registers: ironic, satirical, and tragic. The main register of the novel is satirical which is adorned by the
ironic and tragic register. In this novel, Perec gives us a portrait of the society through the lifestyle of
his characters. Jerome and Sylvie are a psychosociologist couple from Paris, from the middle class. Their
lives seem boring to them and this boredom is reflected in a burning desire for materiality. Perec
criticizes consumerism society and shows how the behaviors of characters are determined by modern
society and its temptations. The strength of this novel lies in the choice of an ironic tone that dominates
the narrative. The author, ridiculing the behaviors of the people of his time towards the consumer society,
uses ironic elements that give an ironic tone to the novel. Something interesting in Things is that, the
author mixes the ironic register with the tragic register that shows the failure of the characters. Perec's
Things is the story of radical disillusionment because heroes find themselves oppressed by the situation
of their society against which they can do nothing. The heroes of Things are crushed under the pressure
of history, living in the sixties, in the midst of a modern society with its crippling temptations. This
novel, a story of disappointment, shows also the weakness of human being in front of his destiny.
Rezaei M; Fadaie Heydar ie Z— Extended abstract : Modern Irony: The Explorat ion of … | 121
The second part, which is the main part of this article, examines the processes and elements of irony used in this novel. The signs of irony are quite evident both in the content and in the structure of this novel. At the level of enunciation, Perec uses processes such as heterogeneous narrator, polyphony and intertextuality. In Things, the heterogeneous and omniscient narrator narrates the story by using free indirect discourses. Then several voices overlap: that of the author, the narrator, the characters in the story and even the reader, which reveals the polyphonic dimension of the story. As we read the novel, we also see the traces of the intertextuality that Perec uses in his writing. Intertextuality allows him to emphasize the narrator's distance from statements that are not his own. Perec practices, therefore, the two essential elements of modern irony to give an ironic register to his work: polyphony and intertextuality. Stylistically, some style figures draw attention to the identification of oblique writing. Metaphors allow us to give derisory and cartoonish images of heroes and their lifestyle, who are in search of happiness through consumerism: the representation of the contemporary social situation of the author. Antiphrases and oxymorons, paradoxical notions, by introducing shifts from the referential, formal or semantic norm of discourse, aim for an effect of absurdity that trace us the empty passage. Perec has fun presenting the enumerations with accumulations to form a circular whole: to identify and then forget, the case of the dreams of heroes. Finally, in Things, the wordplay as well as the alliteration, repeating an identical sound, contributes essentially to illustrate a particular subject. On the syntactic level, we can observe the use of the imperfect verb (which is indeed used for free indirect speech) and conditional (to express the musings of heroes), but also the use of exclamation and questioning marks and the indefinite pronoun, the words in italics, which are particularly well suited to a game of contrast between dissonant points of view.
With these studies, we can conclude that Georges Perec uses elements of irony to criticize his contemporary society, the consumer society. Although this society is rich and modern, there is a remarkable economic inequality. A society in which people are materialistic and feel the false infinite needs within themselves and experience the feelings such as emptiness and absurdity in their quest for happiness.
Machine summary:
Puis, en insistant sur le registre ironique, nous allons examiner les procédés littéraires utilisés par l'auteur qui portent les traces et les signes de l'ironie moderne comme la polyphonie et l'intertextualité et les figures de style.
Avec cette définition du registre satirique, nous avons choisi un extrait des Choses, exemple de la satire de la société contemporaine : « Il leur semblait que c'était là une voie, ou une absence de voie, qui les définissait parfaitement, et pas seulement eux, mais tous ceux de leur âge.
Il est à noter qu'en effet, le jansénisme de saint Augustin constitue un fondement pour toutes les tragédies des siècles suivants : « partout où l'homme solitaire ne trouve aucune réponse à son désespoir et se contente de se donner la mort, il nous faut en trouver la réponse dans la foi nihiliste d'un être pour qui les cieux sont vides de la présence du bon dieu protecteur » (Assadollahi et Keyfarrokhi 138).
Dans ce roman, d'une part, le narrateur utilise le discours indirect libre pour montrer qu'il n'est pas d'accord avec les attitudes et les pensées de ses personnages et même il nous invite à juger sur les comportements et les opinions des héros.
Dans Les Choses, cette attitude dissociative, adoptée par le locuteur, augmente l'aspect de l'ironie satirique du roman qui insiste sur la position de distanciation du narrateur par rapport aux attitudes et aux idées des héros du roman, représentatives de toute une génération.