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Le corps dans les réécritures zombies de Pride and Prejudice (documents pour la classe)

Par Véronique Maillard : Professeur certifié - Collège Jean Jaurès 62 , Virginie Thomas : Professeur CPGE - Lycée Champollion 38
Publié par Clifford Armion le 15/05/2015
Quelques pistes d’exploitation des réécritures zombies :

Les illustrations paratextuelles

Les trois réécritures étudiées dans cet article sont accompagnées de nombreuses illustrations. Un bon moyen d’entrer dans ces transpositions pourrait être de travailler sur l’illustration présente sur la page de garde de Pride and Prejudice and Zombies de Seth Graham-Smith présentant Elizabeth Bennet en guerrière. Le sous-titre du roman et la référence aux auteurs présents sur cette page permettent également de pointer du doigt la notion d’hybridité du texte.

Le chapitre 1 de Pride and Prejudice and Zombies

Il peut être intéressant de confronter le 1er chapitre de l’œuvre de Jane Austen et celui de Seth Grahame-Smith afin d’identifier plus précisément le type de réécriture en jeu :

IT IS A TRUTH universally acknowledged that a zombie in possession of brains must be in want of more brains. Never was this truth more plain than during the recent attacks at Netherfield Park, in which a household of eighteen was slaughtered and consumed by a horde of the living dead.
“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is occupied again?”
Mr. Bennet replied that he had not and went about his morning business of dagger sharpening and musket polishing – for attacks by the unmentionables had grown alarmingly frequent in recent weeks.
“But is is,” returned she.
Mr. Bennet made no answer.
“Do you not want to know who has taken it?” cried his wife impatiently.
“Woman, I am attending to my musket. Prattle on if you must, but leave me to the defense of my estate!”
This was invitation enough.
“Why, my dear, Mrs. Long says that Netherfield is taken by a young man of large fortune; that he escaped London in a chaise and four just as the strange plague broke through the Manchester line.”
“What is his name?”
“Bingley. A single man of four or five thousand a year. What a fine thing for our girls!”
“How so? Can he train them in the ways of swordsmanship and musketry?”
“How can you be so tiresome! You must know that I am thinking of his marrying one of them.”
“Marriage? In times such as these? Surely this Bingley has no such designs.”
“Designs! Nonsense, how can you talk so! It is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.”
“I see no occasion for that. And besides, we mustn’t busy the roads more than is absolutely necessary, lest we lose more horses and carriages to the unfortunate scourge that has so troubled our beloved Hertfordshire of late.”
“But consider our daughters!”
“I am considering them, silly woman! I would much prefer their minds be engaged in the deadly arts than clouded with dreams of marriage and fortune, as your own so clearly is! Go and see this Bingley if you must, though I warn you that none of our girls has much to recommend them; they are silly and ignorant like their mother, the exception being Lizzy, who has something more of the killer instinct than her sisters.”
“Mr. Bennet, how can you abuse your own children in such a way? You take delight in vexing me. You have no compassion for my poor nerves.”
“You mistake me, my dear. I have a high respect for your nerves. They are my old friends. I have heard of little else these last twenty years at least.”

Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and self-discipline, that the experience of three-and-twenty years had been insufficient to make his wife understand his character. Her mind was less difficult to develop. She was a woman of mean understanding, little information, and uncertain temper. When she was discontented, she fancied herself nervous. And when she was nervous – as she was nearly all the time since the first outbreak of the strange plague in her youth – she sought solace in the comfort of the traditions which now seemed mere trifles to others.
The business of Mr Bennet’s life was to keep his daughters alive. The business of Mrs. Bennet’s was to get them married. (PPZ 7-9)


Pour compléter, deux tableaux traduits de Palimpsestes de Genette pourraient être utiles :

Theme

Style

Noble

Vulgar

Noble

Noble genres (epic, tragedy)

Parodies (parody, pastiche)

Vulgar

Burlesque rewriting

Comic genres (comedy)

Function

Satirical

Not satirical

Genre

parody

pastiche


Le chapitre 1 de Seth Grahame-Smith permet de faire travailler les élèves sur l’écriture mais également sur l’évolution des personnages et des codes genrés, l’introduction du fléau des zombies…

Les book trailers des œuvres de Steve Hockensmith

https://www.youtube.com/watch?v=S1JdPvyy93I

Le book trailer de Dawn of the Dreadfuls revêt un intérêt dans la mesure où certains passages peuvent permettre de travailler avec les élèves sur des références intergénériques (le zombie sortant d’un marécage est un clin d’œil à la version de la BBC avec Colin Firth), ou intertextuelles (Elizabeth sous sa cape évoque le Petit Chaperon Rouge et symbolise la maturation sexuelle à laquelle les filles Bennet sont amenées par le biais de leur apprentissage des arts martiaux)… Ames sensibles néanmoins à ménager !

Pour citer cette ressource :

Véronique Maillard, Virginie Thomas, "Le corps dans les réécritures zombies de Pride and Prejudice (documents pour la classe)", La Clé des Langues [en ligne], Lyon, ENS de LYON/DGESCO (ISSN 2107-7029), mai 2015. Consulté le 21/06/2018. URL: http://cle.ens-lyon.fr/anglais/litterature/litterature-britannique/le-corps-dans-les-reecritures-zombies-de-pride-and-prejudice-documents-pour-la-classe-