La mort de l'intertexte : Les voies tortueuses de la voix textuelle dans «Tamburlaine Must Die» de Louise Welsh
Cette communication a été donnée dans le cadre de la Journé d'étude sur l'intertextualité dans le roman contemporain de langue anglaise, organisée le 19 juin 2009 à Lyon 2 par le CARMA.
video_chapitree | |
Introduction : le texte n'existe pas | 00:00 |
1. L'omniprésence et l'invisibilité de l'intertextualité | 03:54 |
2. La voix de la textualité | 05:42 |
3. L'intertextualité dans Tamburlaine must die | 10:55 |
4. L'intertextualité métafictionnelle | 16:00 |
Conclusion | 22:06 |
Extrait de texte :
Introduction :
Un meurtrier se faisant appeler Tamburlaine, du nom du héros d'une pièce de Marlowe, sévit à Londres. Le narrateur, Christopher Marlowe, est soupçonné d'être le meurtrier et menacé d'emprisonnement. Son ami, le dramaturge Thomas Kyd l'a accusé sous la torture. Marlowe se tourne vers son ami, l'acteur Thomas Blaize, qui se révèlera être Tamburlaine.
La scène se déroule sur un marché aux livres près de la cathédrale St Paul :
It was Thomas Blaize that I was searching for. My oldest and closest friend and a player who wishes himself a poet. Blaize has published verses that would set dogs howling, could they read. Never satisfied with being amongst the finest of actors, he haunts the literary world hoping to soak talent into his bones and foist his poetry onto readers. Where better to search for my frustrated wordsmith than among books? I spied him last, deep in conversation with a grave and greying scholar and drew close enough to hear the old man bluster.
I am not obliged to buy a book simply because I put my hand upon it.'
Blaize is long-faced, with large teeth and a high forehead topped by a question mark of a fringe. His dark eyes and high cheekbones have earned him the nickname of the Viper, but it was a satire on his soft nature as much as his dark looks. Now he bared his teeth in a smile and leaned towards the customer.
I've no quarrel with that.' The smile grew wider as Blaize raised his voice in loud conversation as only an actor can. His words travelled across the churchyard and booksellers and browsers turned towards the commotion. There are many fine books in the world.' He turned stage sinister and held up the volume in question, a slim green-bound book of verse I recognised as my friend's sole publication. I just wish to know what it was about this particular one that made you discard it?'
The old man took a step back
I have already said, it was nothing in particular.' He huffed a little, looking for a reason that might free him of this pest.' Perhaps it was the colour of the boards.'
Blaize examine the book, raising it to the light, neatly side-stepping a lunge from the ruffled bookseller whose property it was. A few titters echoed around the bookstalls. Other days I would have joined the merriment, but now I wondered that he could jest with Kyd racked and his closest friend contemplating Newgate. My heart hardened as I watched him appeal to the audience.
Louise Welsh. Tamburlaine Must Die. Edinburgh : Canongate Books. 2004. pp. 42-43.
Pistes de lecture :
On pourra s'intéresser à :
- la dimension comique et théâtrale de la scène.
- le seul intertexte mentionné est celui du tragique par l'intermédiaire de Thomas Kyd et a une dimension proleptique dans le roman.
- la dimension métafictionnelle : la relation (pervertie) de maîtrise de l'auteur narcissique (Blaize) par rapport à son texte et l'ironie qui permet au narrateur (Marlowe) de s'en distancier.
Pour citer cette ressource :
Claude Maisonnat, "La mort de l'intertexte : Les voies tortueuses de la voix textuelle dans «Tamburlaine Must Die» de Louise Welsh", La Clé des Langues [en ligne], Lyon, ENS de LYON/DGESCO (ISSN 2107-7029), octobre 2009. Consulté le 04/11/2024. URL: https://cle.ens-lyon.fr/anglais/litterature/litterature-britannique/la-mort-de-l-intertexte-les-voies-tortueuses-de-la-voix-textuelle-dans-tamburlaine-must-die-de-louise-welsh