Les metamorphoses narratologiques dans 'Chronique des sept miseres' et 'Solibo Magnifique': Une etude postclassique de Gerard Genette et de Patrick Chamoiseau

Recent research in the field of narratology has highlighted a profusion of new, postclassical methodologies which explore, exploit and expand older, classical models. According to David Herman, author of Narratologies: New Perspectives on Narrative Analysis (1999), postclassical narratology has three goals: "(1) to test the possibilities and limits of classical, structural narratological models [...]; (2) to enrich, where necessary, the classical models with postclassical models, thereby coming to terms with aspects of narrative discourse that eluded or even undermined previous narratological research; and (3) to achieve goals 1 and 2 through interpretations of particular (literary and other) narratives [...] (3). In accordance with these guidelines, the following postclassical criticism exposes the possibilities and the limitations of Gerard Genette's revised classical model ( Nouveau discours du recit) while creating a set of new methodological tools which elucidate the narratological metamorphoses in Patrick Chamoiseau's first two novels (Chronique des sept miseres and Solibo Magnifique ).;In order to study the surprising phenomena of transdiegetic convergence in Chamoiseau's novels, whereby the voice of each primary narrator is inextricably entwined with that of his secondary narrators, we exploit Genette's classical concept of diegetic levels while creating a postclassical typology which includes such categories as parasitical, modulating, appropriating, and ethnobiographical narratives.;Analogously, in order to analyse the author's interesting mechanism of relational modulation, whereby each of his primary narrators (singular and plural) evokes an oscillating character represented alternatively in the first and third person (singular and plural), we expand the original model to include two new typologies. The first presents three types of narration (singular, oscillating and hybridised) which characterise the original identity of the narrator and the second exposes three types of dissociation (figural, actorial, and narratorial) which provoke his relational transfigurations.;Finally, in order to study the innovative procedure of transtextual emergence, whereby the fantasmatic narrator of the second novel reveals himself to be the implicit orchestrator of the first, we apply several of Genette's intratextual notions to Chamoiseau's transtextual narration. This paradigmatic shift permits us to recover twelve distinct versions of "Patrick Chamoiseau" in the text, the paratext and the intertext of a transdiegetic macro-narrative which frames the ethnobiographical micro-narrative recounted in Chronique des sept miseres, thereby transforming its extradiegetic narrator into a intradiegetic construct.