چکیده:
Si les textes de Pascal Quignard sont immédiatement reconnaissables, c’est d’abord parce qu’ils offrent au lecteur un plaisir inédit, celui d’une écriture réflexion où le sujet se décline par fragments à travers les divers supports. En problématisant des fictions en narrations elliptiques ou encore en conte philosophique, l’auteur n’a de cesse d’éprouver le lecteur, lui suggérant des possibles lectures pour en faire une marque de l’extrême contemporain. Sollicitations à une participation de construction du sens figurant en filigrane, l’auteur, certes, active à cette construction par un texte en contretemps qui fracture un continuum temporel/langagier en quête de l’origine. Nous proposons de relever quelques marques discursives de l’extrême contemporain à travers les textes de l’auteur, en particulier celles du sujet qui fait un retour en force mais un sujet distinct, composite, propre à l’extrême contemporain. La démarche théorique s'appuiera principalement sur les apports de l'analyse du discours avancés par Maingueneau, Charaudeau et Blanckeman.
اگر متون پاسکال کینار بلافاصله قابل تشخیص هستند، اول از همه به این دلیل است که انها لذت خوانشی بیسابقه به خواننده میبخشند، خوانش نوشتاری تامل برانگیز که در ان موضوع از طرق مختلف به تکههای کوچک کاهش مییابد. نویسنده با به مسيلهسازی در زمینه داستان در قالب روایتهای کوتاه یا حتی در قالب داستانهای فلسفی، هیچگاه به چالش کشیدن خواننده را متوقف نمیکند، و خوانشهای ممکن را به او پیشنهاد میکند تا از ان نشانهای بر متاخر بودن بسازد. با درخواستهای خود برای مشارکت در ساخت معنایی که در پسزمینه مخفی شده، مطمينا نویسنده خود، در ساخت و ساز این متن که بر خلاف انتظار زنجیره زمانی/زبان را در جستجوی مبدا میشکند. ما در اینجا سعی داریم از خلال متون این نویسنده، چندین نشانه گفتمانی ادبیات متاخر را برشماریم، به ویژه نشانههای سوژه که بازگشتی قدرتمند دارد اما سوژهای مجزا، مرکب و مختص به دوره متاخر. رویکرد نظری عمدتا به نتایج تحلیل گفتمان پیشرفته منگنو، شرودو، بلانکمن تکیه میکند.
The reason why Pascal Quignard's texts are immediately recognized is that they
offer the reader an unprecedented pleasure of reflective writing where the subject is broken down into
fragments through the various media. By problematizing fictions into elliptical narratives or even into
philosophical tales, the author never ceases to test the reader, suggesting possible readings to him and
making it a mark of the extreme contemporary. Solicitations for participation in the construction of
meaning appearing in the background, the author, of course, activates this construction through an offbeat
text that breaks up a temporal / language continuum in search of the origin.
We propose to identify some discursive marks of the contemporary extreme in the author's texts, in
particular those of the subject which is making a comeback but a distinct, composite subject specific to
the contemporary extreme.
I. DISCUSSION
The large production of literary works, the marketing techniques of publishing houses, the
development of technology now offer an impressive selection of books to the most demanding readers.
The media themselves offer many possibilities, from low-cost books to luxury editions or digital ereaders.
However, the fashions quickly abandon certain titles and analysts offer markers, thus helping
to locate in this bookish immensity. Specialists such as Dominique Viart, Pierre Guyotat, Antoine
Compagnon have established rankings that we will discuss later. From these markings, a name caught
our attention in that apparently met the innovation criterion, creative and aesthetic material, of the
extreme contemporary.
As presented by Michel Chaillou, Jacques Roubaud, and Michel Deguy at a conference in 1986, “The
extreme contemporary is to put all the centuries together, it is a contemporary encompassing the
extremes.” (Chaillou, 1987) We cannot speak of a new literary movement but of a direction likely to
engender a new aesthetics, as Dominique Viart would say. To understand its peculiarities, we have
briefly presented the contemporary extreme, in particular, its ins and outs, and then, we will study certain
brands through texts by Pascal Quignard.
The Inscription of the Subject in the Extreme
Contemporary through Texts by Pascal Quignard*
Zoulikha TABET AOUL**
Extended abstract : T he I ns c r ip t io n o f the S ubject in t he E xtre me Co ntemp ora r y t hro ugh… | 167
The split between the two dominant ideologies, May 68, and the oil shock of 1973 generated transformations in the way French society employs thought. The era of suspicion brought by the New Novel has spread to different areas of quotidian and intellectual life. Besides, the communication science and the Internet have contributed to these changes, thus the relationship to language itself has been upended, and the language has lost its obvious relationship to meaning. Even anthologies have adapted their grouping system; thematic, psychological, structuralist approaches have shown their limits; new approaches are required. Experts in linguistics have proposed different names; furrows works, glitter works, folds works, symptom works or consenting, concerting, and disconcerting literature. These names have one thing in common which is focusing on the language process (i.e., in its constitution, its objective, its interpretation, or its reception). From this perspective, the term extreme contemporary makes it possible to reconcile these titles. The contemporary extreme sets a distance from traditional reading grids, going so far as to mix genres, registers, forms, and media. Maintaining to be stemming from the legacy of the ancients, the extreme contemporary arises as a process of culmination and maturation of thought phenomenon.
Our present contribution attempts to identify certain characteristics of contemporary extreme writing such as the return of the subject and the return to fiction. Our body of study focuses on a collection of novels by French writer Pascal Quignard, a multi-award-winning contemporary writer. We see the signs of a subject refocusing on itself that had undergone elimination and sometimes rejection. Having become an author, reader, narrator, the Quignardian subject strives to construct himself through critical, metaphysical, religious, and philosophical fragments.
The result is a modification of the problem since the reading pact is distorted and the dissociation of the author, the narrator, and the reader, which seemed clear, has become inadequate. It is in this trend that the Quignardian subject prolongs the change. Pascal Quignard does not seek to meet the expectations of the readership; he will move them more in the direction of critical and reflective activity through transitive writing. No longer aligning with pre-established paths, the subject displays his subjectivity in the face of the steamroller of globalization and its standardization.
II. CONCLUSION
Societal and ideal evolutions created a shift of the subject compared to previous eras and more particularly when the “subject” was erased by the New Roman. We have seen how the subject "spreads out", going against the movements, currents, or previous aesthetic and/or theoretical schools. Neither manifesto nor slogan, however, the indications of the contemporary extreme are becoming clearer and are declined in writing of oneself enlightened by ancestral knowledge and awareness of the complexity of the current world.