Date : 1995
Editeur / Publisher : [S.l.] : [s.n.] , 1995
Type : Livre / Book
Type : Thèse / ThesisLangue / Language : français / French
Résumé / Abstract : DE L'EPOS A L'ECRITURE ROMANESQUE DE YACHAR KEMAL, L'HUMANITE S'INVENTA DE MULTIPLES MOYENS D'EXPRESSIONS. MAIS DANS L'HISTOIRE DE LA LITTERATURE MODERNE DU XXE SIECLE, IL SEMBLE RARE DE TROUVER, DEPUIS A LA RECHERCHE DU TEMPS PERDU, DE MARCEL PROUST, DES ROMANS FLEUVES. CETTE TRADITION LITTERARIE DU XIXE SIECLE AVEC LES ROMANS DE DOSTOIEVSKI, DE TOLSTOI ET DE ZOLA QUE MICHEL RAIMOND QUALIFIE DE "RECIT EPIQUE", NE PARAIT PLUS CONVENIR A LA MODERNITE. CETTE DERNIERE S'ACCOMMODE DAVANTAGE DES GENRES NARRATIFS DE PLUS EN PLUS COURTS. CURIEUSEMENT, CEPENDANT, DANS UN PAYS COMME LA TURQUIE, TOUT AUSSI ATTIRE PAR LE GENRE NARRATIF COURT ET OU LA TRADITION DE LA LITTERATURE ROMANESQUE EST ENCORE RECENTE, TOUT PORTE A CROIRE QUE YACHAR KEMAL CHERCHE A ECRIRE DELIBEREMENT SUR LE CHEMIN DE TELS ROMANCIERS. ILS CONSTITUENT TOUT AUTANT QUE LES BARDES ANATOLIENS LA LANGUE DE SON ROMAN. LE ROMAN EST UNE AFFAIRE DE "MAITRE ET APPRENTI". MAIS L7ART DU ROMAN EST INTIMEMENT LIE A LA SOCIETE OU IL SE DEVELOPPE. ET CHAQUE EPOQUE CREE SON PROPRE ROMAN, SES TECHNIQUES NARRATIVES SPECIFIQUES. NE POUVANT DONC ECRIRE AVEC LA MEME LANGUE QU'EUX, IL EST ALLE CHERCHER LA LANGUE DE SON ROMAN EN ANATOLIE OU LA PAROLE EPIQUE, LE VERBE EST ACTION: IL EST MOUVEMENT, IL EST AMPLIFICATION, EXAGERATION, IL EST MAGIE. EN UN MOT, POUR YACHAR KEMAL, LE ROMAN, "C'EST L'ART DE FAIRE TOMBER DE LA BRANCHE D'UN ARBRE UNE SEULE FEUILLE EN QUARANTE PAGES".
Résumé / Abstract : FROM THE EPIC POETRY TO THE NARRATIVE WRITINGS OF YASHAR KEMAL, MANKIND HAS DISCOVERED NUMEROUS WAYS OF EXPRESSING ITSELF. HOWEVER THROUGHOUT THE HISTORY OF MODERN LITERATURE IN THE 20TH CENTURY, SINCE "A LA RECHERCHE DU TEMPS PERDU" B Y MARCEL PROUST, IT SEEMS RARE TO FIND EPIC NOVEL. THIS 19TH CENTURY LITERARY TRADITION, INCLUDING THE NOVELS OF DOSTOYEVSKY, TOLSTOY AND ZOLA, WHICH MICHEL RAIMOND CALLED "THE EPIC NARRATIVE", NO LONGER SEEM TO SUIT MODERNITY. INDEE D, IT SEEMS TO BE SUITED TO NARRATIVE GENRES WHICH ARE SHORTER AND SHORTER. CURIOUSLY, HOWEVER, IN A COUNTRY LIKE TURKEY, WHICH IS EQUALLY DRAWN TOWARDS THE SHORT NARRATIVE GENRE AND WHERE THE TRA DITION OF THE NOVEL IS RELATIVELY RECENT, EVERYTHING POINTS US TO BELIEVE THAT YASHAR KEMAL IS DELIBERATELY SEEKING TO WRITE ALONG THE LINES OF SUCH NOVELISTS. THEIR INFLUENCE CONSTITUTES THE LANGUAGE OF HIS NOVELS JUST AS MUCH AS THAT OF THE ANATOLIAN BARDS. THE NOVEL IS A MATTER OF "MASTER AND APPRENTICE". HOWEVER THE ART OF THE NOVEL IS INTIMATELY LINKED TO THE SOCIETY WHERE IT DEVELOPS. AND EACH ERA CREATES ITS VERY OWN NOVEL AND ITS OWN SPECIFIC NARRATIVE TECHNIQUES. THEREFORE, NTO BEING ABLE TO WRITE WITH THE SAME LANGUAGE AS THEM, THE CHOSE TO SEEK THE LANGUAGE OF HIS NOVEL IN ANATOLIA WHERE THE EPIC WORD, THE VERB IS ACTION, IT IS MOVEMENT, IT IS EXPANSION, OVERSTATEMENT,IT IS MAGIC. IN SHORT, FOR YASHAR KEMAL, THE NOVEL IS THE ART OF TURNING A SINGLE LEAF FALLING FROM THE BRANCH OF A TREE INTO FORTY PAGES.