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Title:
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Construction de la scène d'énonciation dans A la recherche du temps perdu
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Author:
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Mervi Helkkula-Lukkarinen
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Email:
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click here to access email
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Degree Awarded:
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University of Helsinki
, Department of Romance Languages
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Degree Date:
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1999
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Linguistic Subfield(s):
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Discourse Analysis
Pragmatics
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Director(s):
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Juhani Härmä
Elina Suomela-Härmä
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Abstract:
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One of the main themes of Proust's À la recherche du temps perdu is time and the inherent problem of the relationsip between the different selves of the narrator-hero. The aim the study is to identify the linguistic signs of the presence of the 'narrating self' and to elucidate the devices with which his perspective is kept apart from that of the 'experiencing self'. This makes it possible to define the narrative stage or 'discourse scene' (la schne d'inonciation) of the work and thereby to situate it on a scale of narrative forms and types and, ultimately, to attempt to define its genre. The point of departure for the study is the distinction between two modes of discourse, histoire and discours (in Benveniste's sense), supplemented and made more specific by contributions from linguistics (Ducrot 1984, Fleischman 1990 and 1991) and literary research (Genette 1972, Riffaterre 1990). Twenty-four text sequences of La Recherche, which are assumed to display the presence of the narrator particularly well, are examined to uncover the signs of the speaker in the text. The task is complicated by the anonymity of the narrator, the heterogeneity of the narrative types and the multiplicity of the diegetic levels. The confrontation of the signs referring to the 'now' of the inonciation (the narrating self) and those referring to the 'now' of the inonci (the experiencing self in the past) reveals subtle transitions between the two. Prout takes advantage of the ambiguity of certain tense- aspect categories of French, such as the imparfait, to allow movements from one point of view to another. These transitions, as well as certain signs of fictionality such as the incompatibilities between point of view and verisimilitude, point to the fact that the 'real' narrator of La Recherche does not coincide with the different selves represented on the narrative stage. The work thus uncovers its own fictionality. It turns out to be a novel on the novel, a narrative on the possibilities of narrative discourse and, as such, incompatible with the autobiographical status it has frequently been given.
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