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Universite De Lyon Université Jean Moulin Lyon 3 Ecole doctorale : Lettres, langues, linguistique et arts (LLLA) MIYAMOTO Tsunéichi 宮宮宮宮, un ethnographe folkloriste, infatigable marcheur à la recherche de l’identité japonaise par Alexandre MANGIN Thèse de doctorat d'Etudes de l'Asie et ses diasporas sous la direction de Jean-Pierre GIRAUD présentée et soutenue publiquement le 11 septembre 2008 devant un jury composé de : Jean-Pierre GIRAUD, professeur à l'université Jean Moulin Lyon 3 Yves-Marie ALLIOUX, maître de conférences à l'université Toulouse Le Mirail Gregory B. LEE, professeur à l'université Jean Moulin Lyon 3 Philippe PELLETIER, professeur à l'université Lumière Lyon 2 「「「「「「「「「「「「「「「「「「「「「「「「「「 「「「「「「「「「「「「「「 「「「「 (« Si l'on marquait les traces de pas de MIYAMOTO-kun sur une carte blanche à l'encre rouge c'en serait au point qu'elle en deviendrait toute rouge. » SHIBUSAWA Keizô1) « Anthropologie et comparatisme apparaissent (¼) comme les deux faces d'une même réalité. » Gilbert DURAND2 « L'aventure n'a pas sa place dans la profession d'ethnographe ; elle en est seulement une servitude (¼) Qu'il faille tant d'efforts et de vaines dépenses pour atteindre l'objet de nos études ne confère aucun prix à ce qu'il faudrait plutôt considérer comme l'aspect négatif de notre métier. » Claude LEVI-STRAUSS3 « Un Allemand cultivé me dit un jour : ªComment ! vous venez du folklore ? º Cela dénote un manque de culture. Comme si un homme sur qui le soleil brille, la lune répand sa clarté, comme si tout ce qui nous entoure, comme si tout cela n'était pas le support et une part de culture ? J'ai tourné les talons et l'ai planté là ! » Leos JANACEK4 1 « Waga shokkaku ha Nippon ichi ± Doryoku no minzokugakusha Miyamoto Tsuneichi-kun no koto » 「「「「「「「「「「「「「「「「「「「「「「「「「「 (« Mon pique-assiette est le premier du Japon / A propos d'un grand travailleur : l'ethnographe folkloriste Miyamoto Tsuneichi-kun »), publié dans Bungei shunjû 「「「「「「 (Printemps et automne (ou Annales) littéraires), numéro d'août 1961. Cité dans Miyamoto Tsuneichi Tabi suru minzokugakusha 「「「「「「「「「「「「「「 (Miyamoto Tsunéichi / Un ethnographe folkloriste qui voyageait), ouvrage collectif sous la direction de SANO Shin'ichi 「「「「, Kawade shobô shinsha 「「「「「「, Tôkyô, 1ère éd. Avril 2005, rééd. Juin 2005, p. 84. 2 Structures / Eranos I, La Table ronde, Contretemps, Paris, 2003, « Dualismes et dramatisation », p. 131. 3 Tristes Tropiques, Plon, Paris, 2004, 1ère éd. 1955, « I Départ », p. 9. 4 Guy Erismann, Janáček ou la passion de la vérité, Paris, éditions du Seuil, 1979, rééd. 2007, 350 p., p. 247. [Avertissement] L'université Jean Moulin Lyon III n'entend donner aucune approbation ni improbation aux opinions émises dans les thèses. Ces opinions doivent être considérées comme propres à leurs auteurs. A la mémoire de mon grand père Louis-Jean RIOU et du professeur Jean CHOLLEY, disparus tous deux en mars 2007 pendant la rédaction de cette thèse. Remerciements J'aimerais remercier ici : En premier lieu M. Jean-Pierre GIRAUD, (Professeur des universités en littérature et culture du Japon à l©Université LYON III - Jean MOULIN, Directeur du Département des Études Japonaises), mon directeur de recherches, à qui je dois tout d'abord de m'avoir suggéré, avec beaucoup de clairvoyance, le sujet même de cette thèse, m'ouvrant ainsi l'accès à un monde dont je ne soupçonnais pas alors la prodigieuse richesse. Je lui dois également de m'avoir donné à plusieurs reprises l'opportunité de faire de longs séjours au Japon, séjours sans lesquels je n'aurais jamais pu mener à bien mes recherches. En outre, la pertinence de ses conseils et le soutien attentif que j'ai toujours trouvé en lui m'ont été plus que précieux : inestimables. Qu'il trouve ici l'expression de ma très sincère et absolue gratitude. M. Jean CHOLLEY², (professeur à l'Université Jean Moulin Lyon III), à qui ce travail est dédié, mon directeur de recherches en maîtrise (La mélancolie dans le Sarashina nikki, chez KAMO no Chômei et KAWABATA Yasunari) et DEA (De quelques influences de l'étranger et de leur rapport avec l'identité japonaise), qui a bien voulu assurer un suivi quant aux problèmes de langue (notamment classique) et donc, de traduction, et m'a fait bénéficier de ses observations érudites sur le Japon d'autrefois. Merci aussi à Mme CHOLLEY Natsuko pour ses encouragements. M. Gregory B. LEE, (professeur à l'Université Jean Moulin Lyon III, Premier vice-président de l'Université Lyon III, Directeur du département des études chinoises et Directeur de l'IETT), qui a stimulé ma réflexion théorique (notamment par des conseils de lectures qui ont agrandi mon champ de vision concernant l'Asie et même les sciences humaines en général) et m'a régulièrement poussé à me remettre en question et à rejeter toute facilité. M. SUMITANI Hirobumi 住 住 住 住 (professeur à l'Université d'éducation d'Osaka / Oosaka kyôiku daigaku 住住住住住住) qui m'a fait connaître MIYAMOTO Tsunéichi, à l'occasion de mes recherches de DEA et a suivi l'avancement de mes travaux tout au long de ma scolarité de troisième cycle, ne ménageant pas son temps pour m'aider dans mes recherches sur place. Mme MIYAMOTO Asako 住住住住住 (veuve de MIYAMOTO Tsunéichi), M. MIYAMOTO Hikaru 住住住 (fils cadet de MIYAMOTO Tsunéichi) et son épouse qui ont bien voulu m'accueillir chez eux et me parler de leur regretté Tsunéichi. M. MIYAMOTO Kesao 住住住住住 (non apparenté à MIYAMOTO Tsunéichi) (professeur à l'Université de Musashi 住住住住), qui m'a orienté et conseillé pendant ma première année de thèse au Japon ; M. KOJIMA Takao 住住住住 (enseignant à l'Université de Musashi), dernier disciple de MIYAMOTO Tsunéichi, qui m'a laissé l'interviewer et m'a fourni de nombreux et précieux articles concernant son défunt maître ; M. YAMAGUCHI Kôichi 住 住 住 住 (chargé d'enseignement à l'Université Lyon III), mon premier professeur de japonais, qui m'a donné l'envie de persévérer dans mon apprentissage du japonais et de la culture japonaise ; M. TSUKUDA Tomonori 住住住 (chercheur en industrie halieutique), pour son aide appréciée, sur place, concernant le monde de la mer et ses travailleurs ; M. FURUHASHI Nobuyoshi 住住住住 (professeur à l'Université de Musashi), mon professeur responsable au Japon pendant ma première année de thèse, qui m'a fait beaucoup lire ; M. NAKAHIRA Ryûjirô 住住住住住 (chercheur en Histoire des toponymes et cartographe), pour son aide savante, en particulier en ce qui concerne l'Histoire des routes et des toponymes japonais ; M. NAKAJIMA Hiroji 住住住住. (professeur à l'Université Rikkyô 住住住住) pour ses conseils ; M. Jean-Michel BUTEL, (maître de conférence à l'Université Toulouse Le Mirail) pour ses encouragements ; M. Nicolas RENAHY, (chercheur à l'INRA et au Laboratoire de sciences sociales) pour ses marques d'intérêt ; Mes amis Mme SHIMA Misako 住住住住, Laurent, Kiyoko, Yukako, Mizuho, Vincent, Sato, Tomoko¼ Et bien sûr ma famille, pour son soutien permanent et indéfectible. Note liminaire sur la transcription des mots japonais et la présentation Le système utilisé ici pour la transcription du japonais est celui dit de Hepburn modifié, tel qu'il figure dans le Nelson5 (avec basculement du « n » au « m » avant b, m et p). Pour un compte-rendu détaillé des différents systèmes de transcription du japonais, nous renvoyons à l'article de Laurence Labrune6. Selon ce système, les consonnes se prononcent comme en français, sauf que : Le « r » est très doux, entre le r et le l français. Le « g » est toujours dur, comme dans « guerre » ou « gare » et légèrement nasalisé en milieu de mot lorsque le japonais est parlé avec élégance. Ex. : 住住 sera transcrit negi et se prononcera « négui » [negi]. Le « s » est toujours sifflant, comme dans « samedi ». Ex. :住 sera transcrit asa et se prononcera « aça » / « assa » [asa]. Et les voyelles se prononcent comme en italien, ou en français : « u » se prononce entre le ou de « où » et le eu de « peur ». En fin de phrase, il est très peu marqué, sauf dans le langage féminin affecté ou dans le langage formel, notamment au téléphone. « e » se prononce tantôt comme é, tantôt è. Par convention, nous transcrivons « e » dans les noms communs où qu'ils figurent et les noms propres figurant dans une phrase ou un titre japonais transcrit(e), et « é » dans un nom propre figurant dans une phrase française. Ex. : MIYAMOTO Tsuneichi ha hon wo nihyaku-satsu kakimashita. MIYAMOTO Tsunéichi a écrit deux cents livres. Un accent circonflexe (ou un macron) sert à noter une voyelle longue. Nous distinguerons cependant entre 住住 transcrit « oo » et 住住 transcrit « ô », de même 住住 « ei », 住住 « ê » et 住住 « ee ». Ex. : 住住 kenkô se prononcera donc « kennkoo » [kε nko:] 住住住 ookii se prononcera donc « ookii » [o:ki:] Quant à la prononciation des sons transcrits avec un « w » : Le 住 wo se prononce « ouo » [wo] en japonais ancien et « ô » [o] en japonais moderne. Le 住 wi se prononcera de même « oui » [wi] en japonais ancien et « i » [i] en japonais moderne. Le 住 we se prononcera « oué » [we] en japonais ancien et é [e] en japonais moderne. 5 The New Nelson, par Andrew Nathaniel NELSON, révisé et mis à jour par John H. HAIG, Tuttle, Tôkyô, 1997. 6 Article (« Fiche de grammaire / Transcrire le japonais ») paru dans le numéro 6/7 du printemps 2000 de la revue Daruma, Editions Philippe Piquier, Arles, 2000, p.339-356. Les syllabes 住住 kwa, 住住 kwi, 住住 kwe et 住住 kwo se prononceront donc respectivement en japonais ancien « kwa » [kwa], « kwi » [kwi], « kwé » [kwe] et « kouo » [kwo] et se prononceront ka [ka], ki [ki], ké [ke] et ko [ko] en japonais moderne. Par convention, nous transcrivons zu le japonais 住 qui se prononce « zou » [zu] en japonais classique et dzou [dzu] en japonais moderne et dzu le kana 住 qui se prononce « dzou » [dzu] en japonais classique tout comme en japonais moderne, notant le même son que 住.
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