French title: Le Jeu Gé né rique dans Le Chiendent de Raymond Queneau (English title: The Generic Game in The Chiendent by Raymond Queneau)

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ZIAR MOHAMMAD; KHADIVAR Mohammad Reza

Title

French title: Le Jeu Gé né rique dans Le Chiendent de Raymond Queneau (English title: The Generic Game in The Chiendent by Raymond Queneau)

Author(s)

ZIAR MOHAMMAD | KHADIVAR Mohammad Reza | Issue Writer Certificate

Keywords

genre

horizon d’attente

hybridité

Queneau

roman-poème

roman-spectacle

Abstract

French abstract: La question des genres litté raires a é té pendant des siè cles l’ objet central de la poé tique. Le genre d’ un texte est l’ une des connaissances pré liminaires qui ré pond à l’ horizon d’ attente du lecteur et qui pré cè de son expé rience esthé tique. La notion d’ horizon d’ attente de Jauss et la gé né ricité de Jean-Marie Schaeffer ont modifié le caractè re figé du genre en le rendant plus dynamique. Selon Julia Kristeva, ce dynamisme devient le trait distinctif du roman. Le roman pour Kristeva est comme un ‘ processus’ , « quelque chose qui devient ». Ainsi, ce dynamisme gé né rique permet aux diffé rents genres de coexister. Cette coexistence ou parfois l’ interfé rence gé né rique donne naissance au concept de mé lange ou hybridation des genres, l’ objet central de cette é tude. Le surré alisme, malgré son incompatibilité intense avec le genre romanesque, a indirectement incité quelques romanciers, surtout Queneau à ré diger des romans dans un genre hybride ou parfois non-dé fini. Le genre estimable selon Queneau n’ est ni le genre idé al et merveilleux que proclame le surré alisme, ni les genres classifié s. Dans l’ é tude pré sente, nous avons abordé la question du genre dans Le Chiendent, l’ oeuvre remarquable de Queneau, en mettant à jour l’ aspect hybride de ce roman. Nous avons relevé les indices qui nous ont conduits à qualifier ce roman comme poé tique, thé â tral et ciné matographique. English abstract: tHE question of literary genres has been the central object of poetics for centuries. The genre of a text is one of the preliminary knowledge that responds to the reader's horizons of expectations and precedes his aesthetic experience. The notion of Jauss’ s horizon of expectation and Jean-Marie Schaeffer’ s theory of literary genres have modified the frozen nature of the genre by making it more dynamic. According to Julia Kristeva, this dynamism becomes the distinctive feature of the novel. For Kristeva, the novel is like a 'process', 'something that becomes'. Thus, this generic dynamism allows different genres to coexist. This coexistence or sometimes the generic interference gives birth to the concept of mixture or hybridization of genres, which is the central object of this study. Despite its profound incompatibility with the genre of novel, surrealism has indirectly encouraged novelists, especially Queneau, to write novels in a hybrid or sometimes undefined genre. The estimable genre according to Queneau is neither the ideal and marvelous genre proclaimed by surrealism, nor any of the undefined genres. In the present study, the issue of genre in Queneau's remarkable work Le Chiendent will be studied, by highlighting the hybrid aspect of this novel. The clues that led to characterize this novel as poetic, theatrical and cinematographic are specified. So, the main question that this article will attempt to answer, inevitably partially, is Queneau's attitude and thesis about novel as a literary genre and aesthetic form. The response to this question can only appear after a precise study of Queneau's work, concerning the idea of relativity or mixture of genres. It should be noted that Queneau was a great reader and no genre was strange to him. Thus, the generic complexity of his works is well calculated. Le Chiendent is the exemplary corpus of this study. This choice is due to the fact that it is the main work of the author who deeply challenges (more than his other works) the fundamental notion of literary genre and leaves it in "the era of suspicion". Queneau plays well on the distinction between genres: for him, all of the genres are interchangeable. The novel could be written as a poem and vice versa. In Le Chiendent, which participates in the hybrid genre and which is a novel-poem, that is to say, neither novel nor poem, Queneau implements a poetic structure through rhymes, symmetries and correspondences. This novel is constructed with as much internal rigor as a rondeau or a sonnet. This is the way that Queneau creates very rigorously this hybrid genre of the novel-poem by borrowing the structure of a poem. Besides, this novel-poem does not stop there and it invites other genres to join. Le Chiendent has also a strong dramatic color and is interchangeable with a theater performance. To study the theatrical aspect of his work we refer again to the idea of relativity or the hybridization of genres. But how does the romantic representation of Queneau reveal itself as a spectacle or take the spectacular form? To answer this question, we will briefly undertake a study of the theatricality of this work in order to show how the author plays with the concept of genre. We will first point out the different demonstrations of the “ performance” in the novel, then we will explain the theatrical aspects of the Chiendent by some significant examples. Le Chiendent constitutes the scenes which have a remarkable spectacular attraction. One of the most recurrent scenes in Le Chiendent is that of “ death” . On this subject, six funeral spectacles were presented in this work, emphasizing their theatrical dimension. We will see how theatrical techniques dominate Queneau’ s romantic work. It should be added that the spectacle also manifests itself in the structure of the text. It even fits into the structure of the novel. The book consists of seven chapters, each of them ends with an interlude in italics. These interludes produce pauses between the main "acts". It works as a form of diversion that shifts the reader's interest to other spectacles. Among theatrical games, the game of appearance and disguise has an active role in Le Chiendent. This game is so important because it is recognizable at the beginning and at the end of the novel. According to the testimony of his biography, Queneau was passionate about the seventh art since his childhood. On the one hand, as a modern art in the twentieth century, cinematic narrative has drawn much inspiration from literary works and, on the other hand, has done them a service by bringing them back to life on the big screen. From 1944, Queneau turned to the writing of film scripts and dialogues. It therefore seems quite natural if this writer interferes his cinematographic knowledge with his literary talents. Later, his passion for cinema will be passed on to his characters. In this part, we will briefly study how Queneau, by applying certain techniques of character presentation (slowed or accelerated) according to cinematographic processes, brings his novel closer to the film. In this novel, the reader could identify some perspectives that can be changed at any moment. The use of such cinematographic methods in the romantic narrative and this generic interference gives the Chiendent a rather original aspect and already an air of modernity which we will find later in the new novelists. By applying the novel genre and integrating other genres (even that of cinematography) in his novel, Queneau launched a real generic game in the literature of the twentieth century.

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APA: Copy

ZIAR, MOHAMMAD, & KHADIVAR, Mohammad Reza. (2020). French title: Le Jeu Gé né rique dans Le Chiendent de Raymond Queneau (English title: The Generic Game in The Chiendent by Raymond Queneau). RECHERCHES EN LANGUE ET LITTERATURE FRANCAISES, 13(24 ), 171-186. SID. https://sid.ir/paper/964480/en

Vancouver: Copy

ZIAR MOHAMMAD, KHADIVAR Mohammad Reza. French title: Le Jeu Gé né rique dans Le Chiendent de Raymond Queneau (English title: The Generic Game in The Chiendent by Raymond Queneau). RECHERCHES EN LANGUE ET LITTERATURE FRANCAISES[Internet]. 2020;13(24 ):171-186. Available from: https://sid.ir/paper/964480/en

IEEE: Copy

MOHAMMAD ZIAR, and Mohammad Reza KHADIVAR, “French title: Le Jeu Gé né rique dans Le Chiendent de Raymond Queneau (English title: The Generic Game in The Chiendent by Raymond Queneau),” RECHERCHES EN LANGUE ET LITTERATURE FRANCAISES, vol. 13, no. 24 , pp. 171–186, 2020, [Online]. Available: https://sid.ir/paper/964480/en

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Scientific Information Database

ISSN: 2588-4824

Journal Paper

French title: Le Jeu Gé né rique dans Le Chiendent de Raymond Queneau (English title: The Generic Game in The Chiendent by Raymond Queneau)