چکیده:
Le romancier français contemporain, Patrick Modiano nous présente à travers ses œuvres romanesques et entre autres, La Ronde de Nuit et Dora Bruder, une âme hantée par les éléments du passé et un goût penché vers l’imagination. Celle-ci a le plus grand pouvoir sur l’auteur mais la part autobiographique est tout de même indéniable, entièrement métamorphosée par l’imagination. Modiano mélange la vérité et la fiction en une structure variable où domine, de surcroît, l’invention, les perceptions et les fantasmes. L’œuvre modianesque est fondée dans une large mesure, sur un seul principe : la mythomanie. La mythomanie est une forme de déséquilibre psychique caractérisée par des propos mensongers auxquels l'auteur croit lui-même. Le sujet élabore des évènements et des actes qui n'ont jamais eu lieu. En fait, la mythomanie s'avère être un type de mensonge pathologique dans lequel le sujet croit à la réalité de sa production créative imaginaire et agit partiellement ou complètement en fonction d'elle. Quel que soit le roman, l’auteur la met en avant de façon récurrente. Dans cette recherche, nous allons tenter de comprendre l’obsession de Modiano pour ce qui touche à cette figure de mythomanie. Pour ce faire, en étudiant les thèmes « histoire », « espace » et « temps » dans les deux romans susmentionnés, nous essayerons de comprendre la part de la fiction et surtout de la mythomanie dans le monde littéraire de Modiano.
–– پاتریک مودیانو، رمان نویس معاصر فرانسه، در اثار داستانی خود مانند دورابرودر و گشت شبانه نشان میدهد که ذهن و دغدغهاش
معطوف به حوادث گذشته و امیخته به تخیلات است. با وجودی که تخیل، نزد مودیانو ،از قدرت شگفت انگیزی برخوردار است، اما بخشهایی
خود شرح « از زندگی او را در اثارش باز مینمایاند. برای او، صرفا بیان دقیق واقعیات جذابیتی ندارد. در رمانهای مودیانو، همیشه یک بخش
وجود دارد که نویسنده در صدد است ان را گسترش دهد و از ظاهر اشخاص و اشیا، به ماهیت انها پی ببرد. در واقع، مودیانو » حالنویسی
تخیل و واقعیت را در مقیاسهای مختلف در هم میامیزد که این کار او به خلق حوادث میانجامد. همهی اثار مودیانو فضای یگانهای را
ترسیم میکنند: جهانی بین واقعیت و خیال. در همه رمانها این رویکرد غالب است. در این تحقیق سعی بر این داریم با بررسی سبک و
را در دو رمان ذکر شده » زمان « و » مکان « ،» تاریخ « رویکرد مودیانو به مرز بین تخیل و واقعیت در رمانهایش برسیم. به این منظور مضامین
مطالعه میکنیم تا به جایگاه تخیل و میتومنی در دنیای ادبی مودیانو پی ببریم.
Mythomania in some authors takes the features of a universe in which everyday
life plunges into a world of strangeness where the border between the real and the fictional sometimes
seems difficult to define, where the double life or the double reality unfolds in life. Real and living
dreamed and where the bifurcation causes events and characters to switch from one to another. This
bifurcation stages the following structure: mythomania.
In this work, our study of mythomania will be divided into three parts: the first will focus on the
historical-socio-cultural context, the second on fiction/reality, and finally the third on a structure of
events by focusing on space themes. /time. These three parts will allow us to articulate our analysis of
the modern world.
One of the authors who took advantage of this narrative technique is Patrick Modiano, a contemporary
French novelist, and author of around thirty novels that have won numerous prestigious prizes, including
the "Grand Prix du roman de l'Academie francaise" and "Goncourt prize". Centered on interiority and
imagination, his fictional work approaches autofiction through its quest for lost youth. We can cite La
Place de l'Etoile, La Ronde de Nuit, Dora Bruder, Fleurs de ruine, Livret de famille, Les Boulevards de
Ceinture and Rue des Boutiques Obscure as his most famous novels. Modiano's entire work is based, to
a degree, on two principles which are "self-quest" and "mythomania". In his novels, the author
repeatedly stages these two principles. By mythomania, we do not mean the proper meaning of lying. It
must be said that in the realm of literary creation, the process of producing a work consists of imagination
and reality. If fiction occupies an important place in his works, the fact remains that they offer a very
realistic vision of the author's universe. It is, therefore, appropriate to question how the mixture of reality
and fiction operates, as well as the final impression that emerges from his stories. Modiano chose the
darkest period of the war years: 1942-1943 when the Collaboration triumphed without encountering any
major opposition. In his work Dora Bruder, he introduces us to one of those buying offices, a black
market pharmacy, and the center of the French Gestapo. The story generally takes place there in the
recent past but far enough from the time of the enunciation and the author who did not experience the
historical events he mentions. It turns out that this remains close to historical reality. Indeed, in the
1990s, Modiano was able to obtain, through his investigative work as well as through the historian and
lawyer Serge Klarsfeld, many details about the existence of the young Jewess Dora Bruder. Modiano as
the narrator mixes his story with that of Dora's search through exact details of the facts so that the reader sees it as a true story. Rather, it is about capturing the spirit.
Anyone can claim a "family romance," whether you have parents or not. But the peculiarity of Patrick Modiano's family novel lies in its inscription in history. Without the German Occupation, Albert Modiano would have been quite simply a bad father. It is historical circumstances that make him this ambivalent character. The arrest of the father during the Occupation, a recurring scene in Modiano, only makes sense in the historical context in which it took place. The father's arrest at Modiano's took place before the writer's birth.
This is not a family scene: the father is there alone against a hostile world. The son keeps asking him how the father might have felt in this situation and in a way, the writing is a way of going back in time to reach him. This author's family novel cannot be thought of outside the historical context. But more than a biographical accident, the relationship to History becomes the issue of writing. This is particularly clear in Modiano, who obsessively looks back on the years of the Occupation, that is, the years of his father's youth. But the peculiarity of Patrick Modiano's family novel lies in its inscription in history.
In the field of psychology, mythomania is a disease of psychiatry. This psychiatric term "mythomania" refers to a person with a compulsive tendency to tell lies and makeup stories. To lie, you need the imagination that builds the fable. In other words, the liar must thus use his imagination to construct his story so that it can be as likely as possible.
Throughout this study, we have found that mythomania is at the center of all Modernist work (especially in The Night Watch and Dora Bruder). Modiano creates, in his works, an imaginary world inspired by his real life. So, we can say that Modiano's novel presents a virtual reality, placing the fictional characters in a real context, mingling them with individuals who have existed, but who seem even more virtual than those who are imaginary. The Modianesque text illustrates a presence, a hallucinatory memory, and a mode of identification in time through incidents and historical facts. The night watch is part of a double enterprise: on a personal level, the young writer continues the saga of "his other life", examines his "prehistory" to try to understand his father's behavior and determine what is happening. 'he would have done in his place. To do this, he resorts to mythomania which is somewhat similar to autofiction, where any real-fiction relationship follows a process of allegorization, onomastic research, to represent the historical sequences that float in ambiguity, in 'uncertainty. This exploratory process, haunted by personal and family history, targets the changing images, and according to reality.
History does not generally take place in a very recent passage, but it does not take into account the timing of the story and the story, except for the historical events that are in the scene and the scene. It is a spring that rests close to historical reality. In fact, in the 1990s, Modiano was able to obtain, by his efforts, the investor also being interviewed by historian and lawyer Serge Klarsfeld, searching for details on the existence of the young Dora Bruder. Modified by the narrator assembling the pages of the story along with these of Dora's search by the basis of exact details on the cases and incidents, sort of as the reader considers it as a life story.
Dora Bruder expresses wanderings in the past, nostalgia, and the need to solve personal puzzles, using the mythomania that puts the reader between the bifurcation of the real and the fiction. The author cultivates the memory and it is enlightenment necessary in the present.
All things considered, space and time play, in turn, a considerable role to suggest well the mythomania, because the author respects in his works the authenticity of the Spatio-temporal factor so that the border between reality and fiction is erased and reveals the art of fictionalization which highlights the double, the memory, to unearth oblivion and the lost past. If in some of Modiano's works, such as The Night Watch, the narrator feels the need to invent characters such as Coco Lacour and Esmeralda, to introduce fiction into his life, it is because he translates the project of its author. In other words, to project oneself into the past and attempt to resort to the art of mythomania allowing it to merge fact and fiction to create a literary work reflecting historical themes and events.