{"id":525357,"date":"2024-10-25T06:00:00","date_gmt":"2024-10-25T04:00:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=525357"},"modified":"2024-10-25T15:02:37","modified_gmt":"2024-10-25T13:02:37","slug":"oslo-de-memoire-critique","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/literatur\/oslo-de-memoire-critique\/","title":{"rendered":"Erinnerungen, die den k\u00fcnstlerischen Medien zur Verf\u00fcgung stehen"},"content":{"rendered":"

Un d\u00e9licieux sentiment na\u00eet lorsque l\u2019on est face \u00e0 une \u0153uvre mariant litt\u00e9rature et cin\u00e9ma. C\u2019est ce que permet Oslo, de m\u00e9moire<\/em>, \u00e0 travers un voyage m\u00e9moriel dont l\u2019auteur, Didier Blonde est coutumier.<\/strong><\/p>\n\n\n\n\n\n\n\n

Il y a de la magie quand un livre est adapt\u00e9 \u00e0 l\u2019\u00e9cran, quand l\u2019on se surprend \u00e0 reconna\u00eetre une citation d\u2019un ouvrage aim\u00e9, prononc\u00e9e par un acteur. Quand les livres et les biblioth\u00e8ques sont sublim\u00e9es par le 7.<\/sup> art et prennent, subitement, une importance et une beaut\u00e9 centrales dans le cadre. Le cin\u00e9ma et la litt\u00e9rature unis le temps d\u2019une \u0153uvre; c\u2019est ainsi que se veut le dernier roman de Didier Blonde. Dans Oslo, de m\u00e9moire<\/em>, un \u00e9crivain amoureux des films des ann\u00e9es 1920 plonge dans son esprit et m\u00eale enqu\u00eate et vestiges de la m\u00e9moire, entre Oslo et Paris, sous le prisme de la litt\u00e9rature et du cin\u00e9ma.<\/p>\n\n\n\n

Une introspection m\u00e9morielle<\/strong><\/h3>\n\n\n\n

Si l\u2019on pense plonger directement dans un monde o\u00f9 les pellicules s\u2019entrem\u00ealent aux plumes, on est quelque peu d\u00e9sappoint\u00e9. Les cinquante premi\u00e8res pages jonglent entre une introspection que fait l\u2019auteur de sa propre m\u00e9moire \u2013 et par effet papillon, de sa propre personne \u2013 et de ses r\u00e9miniscences norv\u00e9giennes, et en particulier d\u2019une femme, Inga: d\u2019elle, il ne se souvient que par bribes et images floues. On sait ce que veut le narrateur (retrouver ses souvenirs, dans leur exactitude, les noms, les adresses, les dates et, par cons\u00e9quent, se retrouver lui-m\u00eame), mais on ne sait pas vraiment o\u00f9 il veut en venir, de telle sorte que l\u2019on reste quelque peu sur notre faim. N\u00e9anmoins, l\u2019incompr\u00e9hension du lecteur pique sa curiosit\u00e9.<\/p>\n\n\n\n

Peu de litt\u00e9rature ou, plus g\u00e9n\u00e9ralement, d\u2019art nous parvient de la Norv\u00e8ge, car c\u2019est un terrain que le francophone explore trop timidement. Et pour preuve, quand une femme norv\u00e9gienne contacte le narrateur pour lui proposer de r\u00e9aliser en collaboration un documentaire autour d\u2019une figure f\u00e9minine embl\u00e9matique du pays \u2013 qui plus est, ayant longtemps v\u00e9cu \u00e0 Paris \u2013, elle est pour lui une parfaite inconnue. Pourtant, Cora Sandel est un peu ce que Jane Austen est aux Britanniques: une cr\u00e9atrice, dont les livres sont lus en abondance.<\/p>\n\n\n\n

Et la cam\u00e9ra tourne<\/strong><\/h3>\n\n\n\n

L\u2019accord du narrateur pour le projet cin\u00e9matographique l\u2019am\u00e8nera \u00e0 baisser sa garde et ainsi d\u00e9voiler ses faiblesses et sa sensibilit\u00e9. L\u2019\u00e9crivain va se glisser dans la peau de l\u2019\u00e9crivaine, en sillonnant les rues de la capitale sous le regard attentif de la cam\u00e9ra port\u00e9e. Ainsi, la fusion des arts se fait: litt\u00e9rature et cin\u00e9ma ne font plus qu\u2019un. L\u2019histoire de Cora Sandel est lue \u00e0 travers le prisme cin\u00e9matographique et l\u2019auteur joue avec cet entrecroisement des m\u00e9diums. Ces derniers n\u2019ont pas de r\u00e8gles. Sommes-nous dans l\u2019un ou dans l\u2019autre? Cela n\u2019a pas d\u2019importance. Une porosit\u00e9 s\u2019installe et le lecteur se laisse aller \u00e0 ce charmant m\u00e9lange. La nostalgie flotte au-dessus de cette collaboration, o\u00f9 les pens\u00e9es et l\u2019inachev\u00e9 prennent le pas sur le projet initial. Se d\u00e9voile alors ce que Truffaut nommait \u00abla beaut\u00e9 involontaire qui donne l\u2019impression de ne pas en \u00eatre responsable\u00bb.<\/p>\n\n\n\n

Quelle que soit la nature d\u2019une \u0153uvre, \u00e0 son ach\u00e8vement, quelque chose marque l\u2019\u00eatre humain et lui laisse forc\u00e9ment un go\u00fbt. Amer, agr\u00e9able, inoubliable. Souvent, l\u2019on veut s\u2019en impr\u00e9gner. La puissance de tout art est l\u00e0-dedans. Oslo, de m\u00e9moire<\/em>, permet de ressentir l\u2019ampleur de ce processus.<\/p>\n\n\n\n

Apr\u00e8s avoir pass\u00e9 au peigne fin les enseignes d\u2019Oslo et de Paris, apr\u00e8s avoir rencontr\u00e9 des femmes aux pr\u00e9noms nordiques, celui que l\u2019on rencontre vraiment est le narrateur. Et derri\u00e8re lui, l\u2019\u00e9crivain et la puissance de sa plume. Un passage dans sa m\u00e9moire et ses introspections personnelles permet enfin \u00e0 notre m\u00e9moire personnelle d\u2019\u00eatre activ\u00e9e. Ce roman est un pont entre le pass\u00e9 et le pr\u00e9sent, entre le cin\u00e9ma et la litt\u00e9rature. Partout vivent les souvenirs. La m\u00e9moire les conserve, flous ou pr\u00e9cis, photographiques. Et nous-m\u00eames y faisons face. Le roman, peu \u00e0 peu, s\u2019efface, et laisse place \u00e0 notre panth\u00e9on m\u00e9moriel personnel.<\/p>\n\n\n\n

Schreiben Sie der Autorin: sofia.frosio@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n

Vous venez de lire une critique publi\u00e9e dans notre \u00e9dition papier (Le Regard Libre <\/em>N\u00b0110<\/a>).<\/h6>\n\n\n\n
\"\"<\/figure>
\n

Didier Blonde<\/strong>
Oslo, de m\u00e9moire<\/em><\/em><\/em>
Gallimard
Avril 202<\/strong>4
160 Seiten<\/strong><\/p>\n\n\n\n

\n
Das Buch bestellen<\/a><\/div>\n<\/div>\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"

Ein k\u00f6stliches Gef\u00fchl entsteht, wenn man mit einem Werk konfrontiert wird, das Literatur und Film miteinander verbindet. Das ist es, was \u00abOslo, de m\u00e9moire\u00bb erm\u00f6glicht, durch eine Erinnerungsreise, die der Autor Didier Blonde gewohnt ist.<\/p>","protected":false},"author":849,"featured_media":525358,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20663],"tags":[54879,277140,1532851,38542],"class_list":["post-525357","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-litterature","tag-critiques-litteraires","tag-litterature-francaise","tag-litterature-francophone","tag-roman"],"acf":[],"yoast_head":"\nLes souvenirs \u00e0 disposition des m\u00e9diums artistiques<\/title>\n<meta name=\"description\" content=\""Oslo, de m\u00e9moire" permet de marier litt\u00e9rature et cin\u00e9ma, \u00e0 travers un voyage m\u00e9moriel dont l\u2019auteur, Didier Blonde est coutumier.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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