Lector in drama. Les enjeux fictionnels et imaginaires du suicide dans le théâtre français du XIXe siècle
Date
2018-04-06
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Abstract
Tänapäeval käsitletakse teatriteksti lugemist eeskätt tekstianalüüsina. Doktoritöö eesmärk on antud lähenemist rikastada, käsitledes teatriteksti lugemist fiktsionaalse teksti lugemisena. Seda lugemisviisi vaadeldakse XIX sajandi prantsuse draama tegelaste enesetapuproblemaatika valguses. Teisisõnu huvitab autorit see, kuidas tegelase enesetapp mõjutab teatriteksti lugemist protsessina. Sellele küsimusele vastamiseks uuritakse põhjalikult ka enesetappude põhjusi ja tagajärgi ning nende seost katarsisega. Analüüsiks kasutatakse Vincent Jouve’i virtuaalset lugejat ehk ajastuvälist ja implitsiitset tekstiefektide adressaati. Lugemise ajal «imbub» virtuaalne lugeja fiktsionaalsesse maailma, mille aluseks on Reaalse-Kujuteldava-Sümboolse kolmikjaotusel põhinev dispositiiv.
Doktoritöö koosneb viiest peatükist: teoreetilisele sissejuhatusele järgnevad melodraama, romantilise, naturalistliku ja sümbolistliku draama käsitlused. Peale fiktsionaalsete enesetappude mõju lugejale huvitab autorit ka uuritavate teatrižanrite arengu küsimus «virtuaalse» lugemise perspektiivis. Nii saabki XIX sajandi prantsuse draama lugemist võrrelda teekonnaga melodraama elujaatavast meelekindlusest sümbolistliku draama traagilise määramatuseni, õnnestunud enesetappudest võimalike suitsiidideni ning «nutuküllasest» katarsisest antikatarsiseni.
This study examines the reading of drama texts as the reading of fictional texts, aiming to broaden the current approach according to which the reading of drama texts is mainly limited to text analysis. This question is examined in the light of the issue of suicide in 19th-century French drama. The principal aim of this study is therefore to understand the impact of the character’s suicide on the reader via the detailed analysis of the ins and outs of the suicidal act. The study applies Vincent Jouve’s concept of the virtual reader, who is defined as an implicit and atemporal recipient of the text effects. This reader emerges in a fictional world that is supported by an operative device (dispositif) based on the Lacanian triptych of the Real, the Symbolic and the Imaginary. The dissertation consists of five chapters. The theoretical discussion is followed by four chapters that deal, respectively, with melodrama, romantic drama, naturalist drama, and symbolist drama. In addition to the effect of the fictional suicide on the reader (which is systematically connected to the catharsis), the evolution of theatrical genres and forms is explored from the perspective of “virtual” reading. Thereby, the reading of 19th-century French drama could be viewed as a journey from the optimistic certainty of melodrama to the tragic indeter¬minacy of symbolist drama, from actual to probable suicides, from “sorrow¬ful” catharsis to anticatharsis.
This study examines the reading of drama texts as the reading of fictional texts, aiming to broaden the current approach according to which the reading of drama texts is mainly limited to text analysis. This question is examined in the light of the issue of suicide in 19th-century French drama. The principal aim of this study is therefore to understand the impact of the character’s suicide on the reader via the detailed analysis of the ins and outs of the suicidal act. The study applies Vincent Jouve’s concept of the virtual reader, who is defined as an implicit and atemporal recipient of the text effects. This reader emerges in a fictional world that is supported by an operative device (dispositif) based on the Lacanian triptych of the Real, the Symbolic and the Imaginary. The dissertation consists of five chapters. The theoretical discussion is followed by four chapters that deal, respectively, with melodrama, romantic drama, naturalist drama, and symbolist drama. In addition to the effect of the fictional suicide on the reader (which is systematically connected to the catharsis), the evolution of theatrical genres and forms is explored from the perspective of “virtual” reading. Thereby, the reading of 19th-century French drama could be viewed as a journey from the optimistic certainty of melodrama to the tragic indeter¬minacy of symbolist drama, from actual to probable suicides, from “sorrow¬ful” catharsis to anticatharsis.