Résumé
The purpose of this thesis is to explore the stakes and issues of multiple authorship. It seeks to demonstrate that literary creation is fundamentally plural. It proposes, as an illustration, a practical case study, that of the writers Simone and André Schwarz-Bart.If plural writing is a mode of creation that is widely practiced, it is nevertheless little studied and recognized: research focuses more favorably on the authors who have written alone. From this observation, it seems essential to observe the evolution of the representation of the author over time, in order to understand the impact of this representation on the way we consider plural creation. This thesis therefore invites us to grasp what distinguishes the author from the writer, and consequently to question the place of the signer in the field of literature. Going through the representations and definitions of authorship throughout literary history, it attempts to understand what is at stake with co-authorship.This theoretical clarification is necessary to understand the literary collaboration of Simone and André Schwarz-Bart: three signatures appear throughout their literary career. Works signed with only one of their two names (like the novels Le dernier des Justes – Seuil, 1959, and La mulâtresse Solitude – Seuil, 1972, by André Schwarz-Bart, Pluie et vent sur Télumée Miracle – Seuil, 1972, Ti-Jean l’Horizon – Seuil, 1979 and the play Ton beau capitaine – 1987, by Simone Schwarz-Bart) stand alongside those that are co-written, including Un plat de porc aux bananes vertes – Seuil, 1967, which has put Simone Schwarz-Bart at the forefront of the French literary scene. For the Schwarz-Barts, the act of writing does not necessarily match the act of signing. Indeed, the couple of writers intrigues: after André Schwarz-Bart’s death, works signed with his name alone (L’étoile du matin – Seuil, 2009) and co-signed (L’ancêtre en Solitude – Seuil, 2015 and Adieu Bogota – Seuil, 2017) are still released.Thus, the practical study of the Schwarz-Bart couple allows us to raise many questions about how to consider the act of writing, but also how to sign the literary work. This thesis is therefore based as much on archives that highlight the mechanisms of construction of the authors and their signatures, as on manuscripts that shed light on the elaboration of the Schwarz-Barts work. It is based on the precise study of the novels of Simone and André Schwarz-Bart, published between 1967 and 2017. It invites reflection on the issues of literary creation.
Source: http://www.theses.fr/2022ANTI0889
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