UNIVERSITARIA2004

UNIVERSITÉ DE CRAÏOVA

L’APPROCHE POÏÉTIQUE/POÉTIQUE

5

DOSSIER

LITTÉRATURE ET PEINTURE

Irina Mavrodin, Irina Petrescu Aldea, Camelia Manolescu, Valentina Rădulescu, Monica Tilea, Bogdan Ghiţă

THÉORIES ET PRATIQUES

Sorina Andrei, Mihaela Chapelan, Alexandrina Mustăţea, Crina Zărnescu, Alina Ţenescu, Brânduşa Grigoriu,

Dumitra Baron, Narcis Zărnescu

L’APPROCHE POÏÉTIQUE/POÉTIQUE

Directeur fondateur  

Irina MAVRODIN

Comité honorifique 

Jacques DERRIDAMichel DEGUY

Mihai ŞORAAlexandru CĂLINESCU

Anca SÎRBUAlain VUILLEMIN

Comité de rédaction

Rédacteur en chefprof. univ. dr. Irina MAVRODIN

Rédacteur en chef adjointmaître de conférences dr. Marius GHICA

Secrétaire général de rédactionchargée de cours dr. Monica TILEA

Membres :chargée de cours dr. Valentina RĂDULESCU

chargeé de cours dr. Florentina ANGHELmaître assistant Alina ŢENESCU

L’APPROCHE POÏÉTIQUE/POÉTIQUE

DOSSIER LITTÉRATURE ET PEINTURE

Revue publiée par le Département de Français Faculté des Lettres

Université de Craïova

UNIVERSITARIAUNIVERSITÉ DE CRAÏOVA

2004

Université de CraïovaFaculté des Lettres

Département de Français13-15, rue A. I. Cuza Craïova, Roumanie

e-mail : litere@central.ucv.ro

© Éditions UNIVERSITARIA, Craïova13-15, rue A. I. Cuza, Craïova, Roumanie

ISSN : 1582-1994

Table des matières

DossierLittérature et peinture

Irina MAVRODIN : Un rapport entre la peinture et la literature dans l’horizon d’une poïétique/poétique (Poussin)..................10

Irina PETRESCU ALDEA : Les lettres de Van Gogh – couleur et écriture......................................................................................18

Camelia MANOLESCU: La « monstration » flaubertienne. Le rouge de la guerre.....................................................................26

Valentina RĂDULESCU : Assia Djebar: Femmes d’Alger dans leur appartement. Dialogue avec Delacroix et Picasso............40

Monica TILEA : L’obscurité – matériau immatériel de lacréation.....................................................................................58

Bogdan GHIŢĂ: Gustave Moreau et la peinture dite « littéraire ». Œdipe et le Sphinx....................................................................70

Théories et pratiques

Sorina ANDREI : Le postmodernisme du Testament français : autoréférentialité et non-mimétisme.........................................81

Mihaela CHAPELAN: Permanence et dynamisme des structures de l’imaginaire dans les romans deJean-Christophe Rufin..............................................................88

Alexandrina MUSTĂŢEA: Fonctions de l’espace dansLe Grand Meaulnes d’Alain-Fournier......................................96

Crina ZĂRNESCU : LE MOT TU – incursion dans la poétique de Mallarmé.................................................................................106

Alina ŢENESCU : Dumitru Ţepeneag et l’écriture « fantasmatique » dans Le Mot sablier...................................116

Brinduşa GRIGORIU : La poétique de l’espace dans le Tristan de Thomas...................................................................................134

Dumitra BARON : « Création et détournement » dans l’œuvre de Cioran.....................................................................................145

Narcis ZĂRNESCU : Dimensions sandiennes de l’imaginaire collectif : Marianne, l’androgyne, la mère primordiale..............................................................................155

Abstracts.......................................................................................163

Table of Contents

DossierLiterature and Painting

Irina MAVRODIN : Painting and Literature Relationship in a Poietic/Poetic Perspective (Poussin)........................................10

Irina PETRESCU ALDEA : Van Gogh’s Letters − Colour and Writing......................................................................................18

Camelia MANOLESCU: Flaubert’s “Monstration”. The Red of the War...........................................................................................26

Valentina RĂDULESCU : Assia Djebar: Femmes d’Alger dans leur appartement. Dialogue with Delacroix and Picasso.........40

Monica TILEA : Obscurity – an Immaterial Material ofCreation....................................................................................58

Bogdan GHIŢĂ: Gustave Moreau and the “Literary” Painting.Oedipus and the Sphinx............................................................70

Theory and Practice

Sorina ANDREI : Postmodernism of Testament français : Self-Referentiality and Non-Mimetism ...........................................81

Mihaela CHAPELAN: Permanence and Dynamism of the Structures of the Imaginary in Jean-Christophe Rufin’sNovels......................................................................................88

Alexandrina MUSTĂŢEA: Space Functions in Le Grand Meaulnes by Alain Fournier......................................................................96

Crina ZĂRNESCU : THE WORD “TU” – Incursion in Mallarmé’s Poetics.................................................................106

Alina ŢENESCU : Dumitru Ţepeneag and the “Fantasmatic” Writing in Le Mot sablier.......................................................116

Brinduşa GRIGORIU : Space Poetics in Tristan by Thomas.....134Dumitra BARO : “Creation and Diversion” in Cioran’s Work....145Narcis ZĂRNESCU: Sand’s Dimensions of the Collective

Imaginary : Marianne, the Androgynous, the PrimordialMother....................................................................................155

Abstracts.......................................................................................163

ABSTRACTS

Painting andLiterature Relationship from a Poietic/Poetic Perspective

(Poussin)Irina MAVRODIN, University of Craiova

After having identified the element commonly associated with Poussin’s painting, we aim at explaining it, that is at reinvesting it with content, with a significant plenitude within the context of a poietic/poetic perspective which is ours. We shall attempt to demonstrate that Poussin’s work can be “read” according to some new parameters belonging to the contemporary poietics and poetics, to certain decisive homologies and isomorphisms that exist between one of Poussin’s models and the model offered by the typological series of modern “intellectual” poets, such as Mallarmé and Valéry. Our attempt is similar to that in Introduction à la méthode de Léonard de Vinci and it can be seen as Introduction à la méthode de Poussin.

Van Gogh’s Letters − Colour and WritingIrina PETRESCU, University of Piteşti

This essay is an attempt at putting forward some elements which could lead to the clarification of Van Gogh’s authorial behaviour. With Van Gogh we have two essential elements which open the gate towards his workshop: his paintings and his letters. We consider that these two elements complement each other, his letters representing the way through which the artist communicates his observations concerning the act of creation.

Flaubert’s “Monstration”. The Red of WarCamelia MANOLESCU, University of Craiova

Flaubert is a writer who transforms the word into sensations. In the novel “Salammbô”, the author succeeds in impressing the reader by using plastic effects in his presentation and suggestion of the colour red.

War appears as a regular succession of events, each of which has its double image as in a mirror game. Fascinated by the action of the novel, the reader rejects the great amount of objects, details and coloured images. Thus Flaubert creates the hyperbolic effect of “monstration”. We feel that all the images are invaded by the dominant colour, red, a symbol of war, of the crimes committed in its name and, ultimately, of all the evil things in the world.

Assia Djebar: Femmes d’Alger dans leur appartement. Dialogue with Delacroix and Picasso

Valentina RĂDULESCU, University of Craiova

Published in 1980, the collection of stories “Femmes d’Alger dans leur appartement” by Assia Djebar echoes Delacroix’s canvases, having the same title, and Picasso’s series of 15 paintings and two lithographies, all having the title “Femmes d’Alger”.

This article aims at emphazising the way in which the continuous dialogue with the two painters is actualized in Assia Djebar’s subversive writing. In Assia Djebar’s stories, the sight of the writer (woman), as well as that of the painter, clings to everything that has to be exposed, without sparing any hiding place of society, but it also allows the others to see, through the images it creates. The female characters who dominate the collection are at the same time: “women−sight and women−voice” who illustrate the evolution of the Arab woman from the status of woman−object to that of woman−subject.

The relation between Assia Djebar’s stories and Delacroix’s and Picasso’s canvases allows the reader to understand how Algerian women evolve towards a new social status, towards a new identity.

Obscurity – anImmaterial Material of CreationMonica TILEA, University of Craiova

Henri Michaux combined writing and painting from the beginning of his creative activity and many of his literary works contain references to painting or are entirely dedicated to the analysis of this alternative means of creation. Critics like Jean Burgos or Claude Fintz have already studied from a poetical perspective the link between Michaux’s literary and pictorial work. From a poietical point of view, the two activities complement each other and their comparative study provides a better understanding of their mechanisms. The present study takes into account the modifications undergone by an important element of Michaux’s poiein: obscurity, a poietical filter which appears during the dreams of creation, changes into a material used during the creative process of the series of paintings called Fonds noirs. Such a transformation proves that the act of painting allows the integration of the immaterial with the materials used by the writer and painter Henri Michaux and, moreover, that it liberates his poiein, bringing in new sources of creative energy.

Gustave Moreau and the “Literary” Painting.Oedipus and the Sphinx

Bogdan GHIŢĂ, University Michel de Montaigne Bordeaux III

The little known artistic figure of Gustave Moreau drew the attention of the critics of art when the painting (Oedipus and Lilly) was exhibited at the famous painting Saloon in Paris 1864. Ardent admirer of Chassériau and of Ingres, whose homonym painting actually inspires him, Moreau experiences an overwhelming success and a flashing ascent as a result of his famous canvas. The eternal human enigma, victoriously suggested by the visual force Oedipus dominates the Sphinx with, remains veiled by a vague reddish aura, projected on a macabre and realist setting. Moreau gives the Sphinx the mythological dimension of the term, the image of the entire mystery of existence and absolute knowledge. The

feminine image is obsessively reiterated in various hypostases in Moreau’s work: the mythological, Biblical or antique heroine; in most of the appearances she is under the sign of the curse, like a death spreading vector. Oedipus appears as a symbolic image of human destiny, of wisdom, of power and of human strength defeating evil. The painting was also interpreted as a modern psychomania, a spiritual fight where Oedipus embodies the supreme knowledge that dominates the unknown and vanquishes death.

Postmodernism of Testament français:Self-Referentiality and Non-Mimetism

Sorina ANDREI, Independenţa College of Calafat

This study presents Andrei Makine’s French Testament in another light starting from the premise that the postmodern movement has an eclectic feature covering different narrative techniques mixed all together into an ideology that announces the rebirth of art and of humanity itself.

Even if at first sight the novel seems to be in the Proustian narrative style, a more profound analysis reveals a series of postmodern narrative techniques: syncronism and non-mimetism, irony, fragmentariness, auto-referentiality, rejection of historicism, the diegetic “presentation” of the creator (producer), the idea of plurality. It is a discourse which appeals to biography in order to reach the resurrection of the reality.

The mixture of places and ages, the plural narrative perspective and the above mentioned narrative techniques give particular qualities to Makine’s novel. We witness an original work of art which announces the resurrection of art and value through the seizing of the unique temporal fragments that allow us to perceive the world and the essence of humanity.

Permanence and Dynamism of the Structures of the Imaginary in Jean-Christophe Rufin’s Novels

Mihaela CHAPELAN, Spiru Haret University of Bucharest

In his essay “Pour une histoire de l’imaginaire”, Lucian Boia embraces an integrating perspective which tries to relate the two great and apparently contradictory trends of the studies of the imaginary: the anthropological trend insisting on the permanent, archetypal structures, and the historical trend interested in the dynamic aspects adjusted to every social − cultural context.

Following this approach, the article aims at analyzing Rufin’s novels as if they were a subtle game of imaginaries, an amalgam between the inner pulsations of their creator, whose imaginary bears the signs of our time, of the characters, situated on the verge of history within distant social and cultural frames, and the main archetypal models situated above any cultural and chronological cutting outs.

Space Functions in Le Grand Meaulnes by Alain Fournier

Alexandrina MUSTĂŢEA, University of Piteşti

Our attempt to classify the space functions in Alain Fournier’s work takes into account only his fictional narrative texts, where every space, even the one which is intended to be a real place in the real world, is finally perceived as an imaginary space recreated or invented by an artist. Creating a fictional space means setting up a universe, populating it with human beings and objects, describing it, assigning it different functions, of which the most important are: the narrative function, the thematic function, the poetic and the poietic function.

THE WORD “TU”  – Incursion in Mallarmé’s PoeticsCrina ZĂRNESCU, University of Piteşti

At the end of the 19th century, poetry marks a change of attitude in its relation with creation. The romantics’ verbosity and the expansion of luxuriant personality are followed by self closing

movement, a quest for an inner self which stays in an obscure zone, the unconscious. The promethean afflatus is followed by an orphic tendency of quest in the secret corners of “self” and of the word. The novel is followed by poetry, a literary form that gives birth to a new relationship with the world and with the individual, a literary form that receives important influences from the impressionist movement. The witness of this poetic revolution is Mallarmé, who inaugurated, with his works, the royal way to symbolism and to modern literature.

The present paper does not aim to exhaustively analyse the literary phenomenon, but to evoke the fundaments of mallarmean poetry, working with some concepts that can allow a poly-isotopic reading (cf. Fr. Rastier). The blank/the empty page, emptiness, the virgin, silence/the silent music – these are the concepts that build the borders and the stages of an initiator itinerary in Mallarmé’s poetry, the dissolution of the poetic self into the revelation of a fundamental identification with the heart of the world in an inaugurating and unifying stage.

Dumitru Ţepeneag and the “Fantasmatic” Writingin Le Mot sablier

Alina ŢENESCU, University of Craiova

In this article, we have tried to answer a question that finds its origin in a double perspective (poietical and psychoanalytical) on writing and translation with Dumitru Ţepeneag. How can the practice of translation help the writer to better understand the poietic mechanisms of his work? What analogy can be established between translation and writing in Le Mot sablier? We have also endeavoured to answer the questions raised by the treatment of: “fantasmatic” writing, translation experiment as transfer and the ontological status of the writing-translation in Cuvântul Nisiparniţă/ Le Mot sablier by Dumitru Ţepeneag.

Space Poetics in Tristan by ThomasBrînduşa GRIGORIU, Al.-I.Cuza University of Iaşi

A dimension poetically exploited by Thomas d’Angleterre in his 12th century Roman de Tristan, space can be rethought by embracing a medieval perspective.

The article below attempts a panoramic view of all significant places in the universe of the medieval romance, according to certain notions of a poetics of space greatly inspired by the French philosopher Gaston Bachelard, but also by the dormant virtues of the poem itself.

The legitimacy of such an approach is conferred by the fact that the actual scenery of Tristan’s tragedy is bountifully invested with symbolic values. At times, space proves to be a full-part character in the plot.

Therefore, the idea of bringing together Gaston Bachelard and the poet of tristanian love can be regarded as a virtually rewarding experience.

“Creation and Diversion” in Cioran’s WorkDumitra BARON, University of Sibiu

We have tried to demonstrate that with Cioran there is a transformation which appears in the creational act: a sort of “diversion” which becomes the essential element in the artistic making. Often negatively connoted, the term “diversion” also proves to have a positive side, when seen as one of the conditions necessary for the free production of an artistic work. We aim, on the one hand, to discuss the theoretical significance of the concept of “diversion” for the poietic domain. On the other hand, we want to specify its utility in the study of Cioran’s writing. Our study begins with an analysis of the concept “diversion” in relation to artistic creation, by emphasizing the significations assigned to this term by René Passeron in his article “Creation and diversion”. Finally, we will demonstrate the relationship between “diversion” and two notions connected to the poietic/poetic domain: intertextuality and creative impersonalisation, stressing their manifestation and signification in Cioran’s writing.

Sand’s Dimensions of the Collective Imaginary: Marianne, the Androgynous, the Primordial Mother

Narcis ZĂRNESCU,Spiru Haret University of Bucharest

The survey proposes an analysis of the Sand effect, a possible explanation of the permanent interest in the bio-bibliographémique system “George Sand”: Sand assumes the role of the virgin-warrior (Jeanne d’Arc or Marianne, the symbol-image of France); the role of the androgynous, of the virile, protective, possessive, independent, domineering woman; the role of the primordial mother with her multiple hypostases (from the mother-virgin to mater dolorosa, condemned has lost her sons indefinitely: Musset, Chopin etc.); condemned, she has suffered and missed her redemptions; but also the mother of homeland, a picture that superimposes itself as the one of Marianne and, finally, the mother-earth, nostalgia of one matriarchal time, dominated by the Great Goddess, the Great Mother, the primordial mother. The Sand effect is the result of the game of the maternal and narcissistic complex, of the will of power and the will of sacrifice, torn between the temptation of the mythical androgyn and the nostalgia of a utopian feminine phalocratie. The collective imaginary is therefore the space of the “fantasmatique” repression and discourse sublimation. Therefore, it is a first possible explanation of the Sand effect of an author who prepares and programmes her posterity, her public, her paradoxical and interrogative future.