چکیده:
L’escalier, susceptible d’être porteur du sens est un lieu favori parmi certains auteurs, qui mérite un regard à part et particulier. Étant frappés par l’abondance du mot « Escalier » dans La Maison rose de Pierre Bergounioux, nous avons été amenés à vérifier cette fréquence dans les autres récits de Pierre Bergounioux. Ainsi avons-nous fait une lecture attentive des récits de Pierre Bergounioux depuis 1984 jusqu’à 1996 pour y déceler la trace de l’ « escalier ». Par la suite, nous avons choisi à part La Maison rose, les autres récits intitulés Catherine, Ce Pas et le suivant, La Bête faramineuse, Miette et La Mort de Brune dans lesquels « l’escalier », à première vue, comme un élément banal, nous semble-t-il, offre un sens significatif et joue un rôle définitif. Ainsi, par une démarche totalisante et synthétique, nous avons analysé tous les cas où le terme « Escalier » est apparu dans lesdits récits et puis nous avons classifié les résultats trouvés selon la fonctionnalité que l’escalier s’attribue dans chaque circonstance. Par conséquent nous avons réussi à reconnaître neuf fonctions pour les escaliers de Pierre Bergounioux : l’escalier de contact, de peur, d’obstacle, de suicide, de sensation, de découverte, de classe, d’honneur et enfin l’escalier de bonheur. Après cela, notre attention a été attirée sur la dualité oppositionnelle cachée au sein de chaque fonction trouvée. Donc en nous appuyant sur la méthode bachelardienne, nous nous sommes efforcés de percer dans l’imaginaire de l’écrivain et de dégager les dialectiques contradictoires nées de chaque fonction. Et les classifier sous l’axe horizontal ou vertical.
حضور پررنگ پلکان در خانه صورتیا ثر پیر برگونیو، نویسنده معاصر فرانسوی، ما را بر ان داشت که در پی معنایی از ورای این
حضور باشیم. پس، در پی پلکان به بررسی اثار دیگر نویسنده پرداختیم و دست اخر جدای از خانه صورتی ، اثار دیگر از قبیل کاترین، این
گام و بعدی، جانور عجیب و غریب، می ات و مرگ برون را که در انها پلکان همچنان حضورغالب و قابل توجهای دارد، را برگزیدیم. سپس
با بهرهگیری از روش تلفیقی و اعمال ان بر گزیدههای اثار منتخب موفق به دسته بندی انواع پلکانها تحت نه عنوان و بر اساس کارکرد
پلکان « ،» پلکان طبقه « ،» پلکان اکتشاف « ،» پلکان حواس « ،» پلکان خودکشی « ،» پلکان مزاحم « ،» پلکان هراس « ،» پلکان دیدار « : انها شدیم
تعمیق بیشتر در یافتهها، ما را به تقابلهای دوگانه پنهان در پس هر کارکرد سوق داد. تقابلهایی همچون خود و .» پلکان سرور « ،» افتخار
دیگری، مرگ و زندگی، سلطهگر و سلطه پذیر، شهر و روستا و ... در گام نهایی با تکیه بر بوطیقای فضای گاستون باشلار سعی برنظم
بخشیدن به تقابلهای به دستامده ذیل محورهای افقی و عمودی نمودیم.
As one of the three Aristotelian units, namely the unit of place, time and action,
the space in which history takes place has always been interested as the object of study. And among the
spaces, the staircase, by its structural form, capable of conveying meaning, is a favorite place among
some authors, which deserves a special look.
Integrated in the lineage of the authors of "narratives of filiation", those whose arrival on the literary
scene coincides with the eighties, Pierre Bergounioux, the major but discreet writer of the most recent
French literature, hardly exceeds the university framework, compared to his literary counterparts like
Anni Ernaux, Pierre Michon and Francois Bon, however the richness of his works is inexhaustible.
Being struck by the abundance of the word "Staircase" in Pierre Bergounioux's La Maison rose, we
have been led to verify this frequency in the other works of Pierre Bergounioux. We have therefore
carefully read the stories of Pierre Bergounioux from 1984 until 1996 to detect traces of the "staircase".
The research has led us to results that should be considered. And we noticed that from the first story of
Pierre Bergounioux, Catherine, the staircase shows itself in a striking and not insignificant way.
Although sometimes it just fulfills its ordinary task of going up and down as a means of gaining access
to upper or lower floors, but most of the time the staircase is a favorite place to perform some function.
Subsequently, apart from La Maison rose, we chose the other tales entitled Catherine, Ce Pas et le
suivant, La Bete faramineuse, Miette and La Mort de Brune in which "the staircase", at first glance, as
an element banal, blurred by the events of the story, without considering the number of its recurrence
beforehand, it seems to us, offers a significant meaning and plays a definitive role.
Thus, by a totalizing and synthetic approach and by using the scenes extracted from the selected
stories, we analyzed all the cases where the term "Staircase" appeared in the said stories and then we
classified the results found according to the functionality and the characteristic that the staircase
attributes to itself in each circumstance. Therefore, we have succeeded in recognizing nine functions for
Pierre Bergounioux's stairs: the contact staircase, the fear staircase, the sensation staircase, the obstacle
staircase, the suicide staircase, the staircase of class, the staircase of discovery, the staircase of honor
and finally the staircase of happiness.
But the research did not end with these findings concerning the functions of Pierre Bergounioux's
stairs. Sensitized by the learnings of Structuralism about binary oppositions as the main core of human
thought, our attention was drawn to the contradictory duality hidden within each function found. In other
words, the existence of a function, or to put it better, the existence of the staircase, is directly related to
the existence of a binary opposition.
And among those who value dualism, it is precisely Gaston Bachelard who believes that the image which can moreover be a space, as he has shown us splendidly in his Poetics of space, takes on all its "dynamism" of "dialectics of opposites ".
So we just have to rely on the Bachelardian method to penetrate the imagination of the writer and identify the contradictory dialectics within each function. So the self / other binary opposition emerges from the contact staircase. The one of peace / anguish concerns the staircase of fear. That of escape / confinement is revealed from the obstacle staircase. The contradictory duality of life / death arises from the suicide staircase. That of sensitivity / insensitivity manifests itself in the staircase of sensation. The knowledge / ignorance arises from the discovery staircase. And the dominant / dominated, job / passion, city / country dialectics are formed around the stairs of class, honor and happiness respectively.
Lastly, and while fully respecting Bachelard's approach, after having found the opposing couples, born of each function, we only have to classify these oppositional couples according to two horizontal and vertical axes in order to better and better decipher the image of the stairs. Thus under the heading of "The staircase: The horizontal axis" are located all the functions that concern the staircase where it is imagined "as a concentrated being". In other words, all cases where it is a question of a staircase in which a fact or a situation is formed, without taking into account the sense of linearity between the two poles of contradiction. Like the staircase of contact, fear, obstacle, suicide, sensation and that of discovery. And under the heading of "The Staircase: The Vertical Axis" meet the stairs which even before being seen as a space, they show themselves as a line of distance and separation between the two sides of established polarity. In other words, when the staircase is imagined "as a vertical being". It is under this axis that the stairs of class, honor and happiness are placed.
So after having become aware of the presence of the staircase and following it the discernment of the functions and oppositional dualities attached to these functions, we allow ourselves to denounce the inclination, in a way, of Pierre Bergounioux for the spatial image of the stairs. Indeed, the image of the staircase fertilizes the imagination of the writer and shows itself as the revealer of an intimacy.
Far from being a frozen image, sometimes like a space of "topophilia" and sometimes like a space of "topophobia", the staircase is certainly a favorite space for the materialization of the writer's imagination. Reinforced by the process of "dialectization", the image of the staircase is a means, through which, Pierre Bergounioux, manages to explore his past. In the world of Bergunian stories, the fear, the anguish, the boredom of living in small distant towns, knowledge, death, sensations and social advancement are associated with the image of the staircase.
So we can conclude that, on the one hand, the staircase, by its structural form, is very likely to be a favorite image of the authors of "accounts of parentage". And, on the other hand, it seems that the Bachelardian method, giving importance to the imagination, is a suitable approach for this kind of narrative which so cherishes the past.