Caricature textuelle et visuelle française du XIXe siècle. Enjeux sémiologiques d’une analyse icono-textuelle
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Date
2020
Authors
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Publisher
Katolicki Uniwersytet Lubelski Jana Pawła II; Werset
Abstract
Cet article considère la caricature en tant que dispositif icono-verbal qui mobilise des codes culturels partagés. Il montre qu’au XIXe siècle, la caricature visuelle (ici Daumier et Gavarni) comme la caricature textuelle (ici Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) sont pensées sur le modèle de la scène théâtrale qui joue des riches possibilités offertes par la combinatoire du texte et de l'image au cœur des mécanismes comiques.
En effet, invalidant le constat d'un primat de l’image sur le texte (position de Charles Baudelaire) ou inversement du texte sur l’image (position de Roland Barthes), cet article rappelle que le visuel et le textuel assument des rôles fluides et qu’ils se complètent. À ce titre, la consonance ou dissonance entre l'image et son titre/sa légende sont deux types de rapports qui concourent à la naissance du rire comme à la richesse sémantique de la caricature.
Cette vision d’un rire procédant avant tout de mécanismes formels pourrait tendre à faire croire que l'évaluation des systèmes de valeur mobilisés est superflue. L'important serait de comprendre et d'analyser, pas de juger. Contre une telle prétention, cet article soutient la nécessité d’ajouter à l'analyse formelle d'une œuvre dans son contexte historique un positionnement éthique face à ses implications idéologiques explicites et implicites.
This article considers caricature as an icono-verbal tool that mobilizes shared cultural codes. It shows that in the 19th century, both visual (in this case, Daumier and Gavarni) and textual caricature (in this case, Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) were designed based on the model of a theatrical scene which plays on the rich possibilities offered by the combination of text and image at the heart of comical mechanisms. Indeed, invalidating the observation of the primacy of image over text (Charles Baudelaire's stance) or vice versa: of text over image (represented by Roland Barthes), this article posits that the visual and the textual take on fluid roles and complement each other. As such, the consonance or dissonance between the image and its title/legend are two types of relationships that contribute to the birth of laughter as well as to the semantic richness of a caricature. This vision of laughter proceeding above all from formal mechanisms could lead one to believe that the evaluation of the adopted value systems is superfluous. The important thing would be to understand and analyze, not to judge. Against such a claim, this article supports the need to add to the formal analysis of a work in its historical context, its ethical positioning in the face of its explicit and implicit ideological implications.
This article considers caricature as an icono-verbal tool that mobilizes shared cultural codes. It shows that in the 19th century, both visual (in this case, Daumier and Gavarni) and textual caricature (in this case, Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) were designed based on the model of a theatrical scene which plays on the rich possibilities offered by the combination of text and image at the heart of comical mechanisms. Indeed, invalidating the observation of the primacy of image over text (Charles Baudelaire's stance) or vice versa: of text over image (represented by Roland Barthes), this article posits that the visual and the textual take on fluid roles and complement each other. As such, the consonance or dissonance between the image and its title/legend are two types of relationships that contribute to the birth of laughter as well as to the semantic richness of a caricature. This vision of laughter proceeding above all from formal mechanisms could lead one to believe that the evaluation of the adopted value systems is superfluous. The important thing would be to understand and analyze, not to judge. Against such a claim, this article supports the need to add to the formal analysis of a work in its historical context, its ethical positioning in the face of its explicit and implicit ideological implications.
Description
Keywords
caricature; sémiologie; rhétorique de l'image; textuel; visuel; idéologie, caricature; semiology; image rhetoric; textual; visual; ideology
Citation
"Quêtes littéraires" 2020, nº 10, s. 145-158