Abstract:
La Gloire de mon père, un ouvrage qui a été écrit en 1957 par Marcel Pagnol, est un roman autobiographique. Selon les caractéristiques des œuvres autobiographiques, l’auteur est le personnage principal du roman. Notre principal problème dans cette recherche est que cette histoire est racontée par un enfant (le petit Marcel), alors que l’auteur est un adulte. Donc, nous avons étudié l’énonciation et les jeux de l’embrayage et du débrayage pour savoir qui parle dans ce roman. Notre hypothèse est que la diversité des énonciateurs, provoque la dynamique du texte du roman autobiographique et à travers l’explication des embrayages et les débrayages des énonciateurs par rapport à la situation de l’énonciation, nous pourrons séparer les personnages. Dans ce roman, l’auteur a décrit tous les événements dans un ordre chronologique, ce qui a rendu le texte plus facile à lire et moins compliqué. La méthode employée est la sémiotique de l’école de Paris. Cette approche étudie les structures signifiantes profondes du texte et nous aide à mieux comprendre les sens du discours.
پدرم، کتابی که در سال 1957 توسط مارسل پانیول نوشته شد، یک رمان اتوبیوگرافی است. با توجه به ویژگیهای اثار اتوبیوگرافی، نویسنده شخصیت اصلی داستان است. مسيله اصلی ما در این تحقیق این است که این داستان توسط یک کودک (مارسل کوچک) روایت میشود، در حالی که نویسنده ی اثر یک فرد بزرگسال است. بنابراین ما به بررسی گفته پردازی و بازیهای اتصالات و انفصالات گفتمانی پرداختیم تا بفهمیم چه کسی در این رمان عمل گفته پردازی را انجام میدهد و در واقع در این اثر چه کسی صحبت میکند. فرضیه ما این است که تنوع و تعدد گفته پردازها، پویایی متن رمان اتوبیوگرافی را برمی انگیزد و از طریق توضیح اتصالات و انفصالات گفتمانی در رابطه با وضعیت گفته پردازی، میتوانیم شخصیتها را تفکیک کنیم.. نویسنده در این رمان همه وقایع را به ترتیب زمانی توصیف کرده است و این امر خوانش متن را اسانتر کرده و پیچیدگی ان را کاهش میدهد. روش مورد استفاده در این تحقیق، نشانه شناسی مکتب پاریس است. این رویکرد به بررسی ساختارهای معنایی عمیق متن میپردازد و به ما در درک بهتر معانی گفتمان کمک میکند.
Published in 1957, The Glory of My Father, the first volume of the
autobiographical trilogy Childhood Memories, is a set of short stories based on reality and set in the
South. Marcel Pagnol recounts his childhood, his birth in Aubagne and the origins of his parents Joseph
and Augustine. His father Joseph Pagnol, a teacher, was appointed to the Chemin des Chartreux school
and the family moved to Marseille, where Rose, Marcel's aunt, met Uncle Jules who pretended to be
with the child as the owner of Borely Park. The two families decide to rent a country house together in
the scrubland, the Bastide Neuve, to spend the summer holidays there.
These holidays were a revelation for young Marcel who fell in love with the hills, its wild vegetation,
its rock massifs. Marcel Pagnol recounts, as a witness, the characters of his childhood and life in the
family of a teacher from Aubagne, who will come to life with the rental of a bastide in the scrubland of
the Marseille hinterland where they are going to spend the summer holidays. This work is an ode to
Provence but it is also one to family. Pagnol presents the characters in a realistic way with humor and
tenderness, giving the reader the opportunity to get to know the members of his family: Joseph, the
heroic father, Augustine, the gentle and discreet mother, Jules, the religious uncle and presumptuous,
and the little brother Paul who follows him everywhere. In this novel we have the “I” which refers to
the author, the narrator and the main character. It is therefore essential to distinguish “who is speaking?”
» when reading the autobiographical story, given that there are at least three “I” occupying three
positions: the actor, the enunciator and the author.What interests us in this study is the enunciation in
the autobiography. According to the characteristics of autobiographical works, the author is the main
character of the novel. Our main problem in this research is that this story is told by a child (little Marcel),
while the author is an adult. So, we studied the enunciation and the game of engagement et
disengagement to find out who speaks in this novel. Our hypothesis is that the diversity of enunciators
causes the dynamics of the text of the autobiographical novel and through the explanation of the
engagement and disengagement of the enunciators in relation to the situation of the enunciation, we will
be able to separate the characters and the different "I ". In this novel, the author described all the events
in chronological order, which made the text easier to read and less complicated. The method used is the
semiotics of the Paris school. This approach studies the deep meaning structures of the text and helps us
to better understand the meanings of the discourse. In fact, semiotics is interested in the appearance of
meaning apprehended through the forms of language, and more concretely through the discourses which manifest it.
Our article is divided into three parts. First, a more precise presentation of the work. Then, we studied the situation of the enunciator in relation to the enunciation and the different positions of “I” in the autobiography and also we specified the disengagements and the engagements of the enunciation. Finally, the subject of the third part is the study of time in the chosen work, because time has great importance in autobiographical works and examining it allows us to better understand the process of this novel. As a result, we were able to determine “who is speaking?” » in The Glory of My Father.
Our analysis showed a distance between the main speaker and the speaker of the stated statement. At the level of the statement, the actor appears as the instance which experiences what is told and at the level of the main enunciation, the enunciator appears as the instance which reports on this experience. We ask ourselves “how do changes occur between these various temporal forms?” And how can we distinguish the different instances in enunciation? ". in fact, the putting into discourse of the enunciation is carried out from an initial enunciative disengagement carried out by the main enunciator. Once disengaged from his speech, the enunciator of the memories places himself at the level of the main enunciation by an engagement temporal which returns the story to the moment of enunciation. The passage from the statement which is disengaged from the time of the enunciation to the stated enunciation is therefore made by a temporal enunciative engagement which always marks the rapprochement at the moment of the enunciation. However, not every present (now) implies a rapprochement at the moment of the act of enunciation. In certain cases, the operation carried out would be an enunciative engagement since the present of the story refers to the present of the story which always remains in the past in relation to the present of the memories. That is to say, the operation of the engagement does not bring the time of the story closer to the moment of the main utterance because the present of the story marks an event or a situation which is in the process of being realized in time of the story told. In autobiography, the enunciator conducts his enunciation in the mode of “I”, our question is: “Who is this ‘I’?” ". According to the studies carried out, and according to the author's own words in the foreword to the first volume of his memories, we realized that there are two "I" in the story: one "I" I” which refers to Marcel as a child and an “I” which refers to Marcel as an adult and the writer.
In autobiographical discourse, the “I” of the enunciation, through the initial disengagement, becomes the “non-I” of the stated statement; in other words, following the initial disengagement, the speaker becomes the actor. On the other hand, this “I” also changes during the story, 3-year-old Marcel transforms into 12-year-old Marcel, and these changes continue until adulthood.
In general, in the autobiographical story, the speaker, the author and the actor refer to a single “I” of the real world. This gives another characteristic of the autobiographical genre: a retrospective account written by a real person. We believe that our corpus reflects this aspect specific to the genre well. Finally, we can say that, Marcel Pagnol, by diving back into the skin of the little boy he was, wishes above all to bear witness to a happy period of his life, that of his childhood. This period allows him to describe the strong ties uniting him to members of his family, to his friends, as well as his limitless attachment to Provence, its hills and the surrounding towns.
Aubagne, Marseille, La Treille, so many places which have been used in the majority of his works (plays, films or novels), and with which he maintains a personal relationship. In conclusion, in Pagnol's universe, the child joins the adult through his desire for growth and mimicry and the adult joins the child through his taste for freedom and a humor humble enough not to take anything seriously. tragic. Between the “objective” event history and the free construction of the subject, Marcel Pagnol establishes a lyrical pact where the narrator, both child and adult, always has sovereign freedom with regard to authoritative
knowledge. He also invites the reader to take part in the wide open spaces of his childhood mind full of life and truth.