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L'écriture Romanesque En Hébreu Des Langues et identités : l’écriture romanesque en hébreu des palestiniens d’Israël (1966 – 2013) Sadia Agsous To cite this version: Sadia Agsous. Langues et identités : l’écriture romanesque en hébreu des palestiniens d’Israël (1966 – 2013). Littératures. Université Sorbonne Paris Cité, 2015. Français. NNT : 2015USPCF002. tel-01332671 HAL Id: tel-01332671 https://tel.archives-ouvertes.fr/tel-01332671 Submitted on 16 Jun 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Institut National des Langues et Civilisations Orientales École doctorale N°265 Langues, littératures et sociétés du monde CERMOM THÈSE présentée par Sadia AGSOUS BIENSTEIN soutenue le 28 janvier 2015 pour obtenir le grade de Docteur de l’INALCO Discipline : Littératures et civilisations LANGUES ET IDENTITÉS : L’ÉCRITURE ROMANESQUE EN HÉBREU DES PALESTINIENS D’ISRAËL (1966 – 2013) שפות וזהויות : הסיפורת העברית של הפלסטינים בישראל )1966־2013) Thèse dirigée par : Mme Masha Itzhaki Professeur des universités, INALCO RAPPORTEURS : Mme Laurence Denooz Professeur des universités, Université Nancy 2 Mme Gisèle Sapiro Directrice de recherche, CNRS MEMBRES DU JURY : Mme Masha Itzhaki, Professeur des universités, INALCO. Mme Laurence Denooz, professeur des universités, Université Nancy 2. M. Sobhi Boustani, Professeur des universités, INALCO. Mme Gisèle Sapiro, Directrice de recherche, CNRS. 1 | LANGUES ET IDENTITÉS : HÉBREU DES PALESTINIENS (1966 2013) שפות וזהויות : הסיפורת העברית של הפלסטינים בישראל )1966־2013( Sadia AGSOUS BIENSTEIN 2 | À mes parents, Mouni HAMSI et Lakhal AGSOUS, qui m’ont offert ce qu’il y a de plus précieux pour une femme, l’éducation et l’instruction. Elle est pour moi cette liberté qui me pousse à aller au-delà des frontières de l’acceptable ; À mon frère Toufik et à mes sœurs, Nadia, Myriem, Wahiba, Yasmina, Zahra, Sophie et Warda, merci pour votre soutien permanent. Je n’oublie pas leurs enfants ! À mon défunt Zayda, Jacob BILANDER ; À Helen BILANDER et Tamara BIENSTEIN ; À mes enfants, Noori et Layla BIENSTEIN, merci pour votre patience et pour votre amour ; Enfin, à Michael, « mon Juif », à son amour, son soutien et à ses remarques pertinentes. 3 | TABLE DE MATIÈRES TABLE DE MATIÈRES 4 REMERCIEMENTS 9 RÉSUMÉ 10 SUMMARY 11 SYSTÈME DE TRANSCRIPTION DE L’ALPHABET HÉBRAÏQUE 12 SYSTÈME DE TRANSCRIPTION DE L’ALPHABET ARABE 13 INTRODUCTION GÉNÉRALE 14 PREMIÈRE PARTIE : CONSIDÉRATIONS CONTEXTUELLES ET THÉORIQUES 23 CHAPITRE I : ÉCRIVAIN À LA LISIÈRE DE DEUX LANGUES ET DE DEUX CULTURES 24 1. À la lisière de la Majorité et de la Minorité 25 2. Auteurs et romans du corpus 28 2.1 Atallah Mansour (1934- ), écrivain et journaliste bilingue arabe-hébreu 29 Sous un nouveau jour) : synopsis 33) באור חדש 2.1.1 2.2 Anton Shammas (1950- ), Journaliste, écrivain et traducteur bilingue 36 Arabesques) : synopsis 40) ערבסקות 2.2.1 2.2.2 The Retreat from Galilee (La défaite de la Galilée), synopsis 42 2.3 Sayed Kashua (1975- ), journaliste, écrivain et scénariste en langue hébraïque 44 Les) ערבים רוקדים Travail arabe), hébreu-arabe, 2007-. 2.3.1) شغل عرب ou עבודה ערבית Arabes dansent aussi) : synopsis 46 Et il y eut un matin) : synopsis 49) ויהיה בוקר 2.3.2 Herzl disparaît à minuit) : synopsis 51 ) הרצל נעלם בחצות 2.3.3 La deuxième personne) : synopsis 53) גוף שני יחיד 2.3.4 CHAPITRE II : INTRODUCTION AUX PROBLÉMATIQUES GÉNÉRALES ET THÉORIQUES 55 1. Langues et identités 56 1.1 L’hébreu selon Mahmoud Darwich 58 1.2 « Médiateurs, passeurs » 60 1.3 Identité hybride et Tiers-Espace 61 1.3.1 Identité et pensée postcoloniale 61 1.3.2 Processus d’identification 63 4 | 1.3.3 Le Tiers-espace de la littérature 65 1.4 Écrivains entre bilinguisme et translinguisme 68 2. Le roman palestinien en hébreu : un « devenir » 71 3. La voix narrative palestinienne dans le canon littéraire hébraïque moderne 76 3.1 « Marge » et unification de l’histoire littéraire 76 3.2 Fin d’une utopie et naissance d’un espoir 80 4. Autres considérations : Le moi et l’autre et l’interaction des « textes cachés » des deux peuples 82 5. Roman et genre 83 5.1 Personnage, auteur et lecteur 84 5.2 L’autofiction : Ambigüité entre auteur et récit 86 6. Naissance d’une littérature entre majorité et minorité 89 DEUXIÈME PARTIE (1948-1967) : L’IDENTITÉ DÉSENGAGÉE D’ATALLAH MANSOUR 95 CHAPITRE I : LA GENÈSE DE LA LITTÉRATURE PALESTINIENNE EN HÉBREU 98 1. Embranchement entre politique et esthétique 99 1.1 Les organes de presse politiques 102 1.2 Les Juifs-Orientaux (Mizrahim), premiers alliés 104 1.3 Rashid Hussein : les premiers contacts entre écrivains palestiniens et juifs 108 CHAPITRE II : ATALLAH MANSOUR : ROMAN ET PARCOURS 115 1. Sous un nouveau jour, une identité palestinienne désengagée 116 1.1 Autofiction et réalisme 116 1.2 Espace et personnage-héros : Yossi et le Kibboutz 117 1.3 Les personnages : l’adjuvant interprète le sujet et l’objet 120 1.4 L’adoption, symbole de la naissance d’une minorité 122 1.5 Yossi-Youssef, identité désengagée 123 2. Le parcours : Atallah Mansour et la relation à la langue du beau-père 125 2.1 Se forger à partir des lisières sociales, politiques et linguistiques 125 2.2 L’expérience du Kibboutz et du MAPAM 128 2.3 Le sionisme et la rencontre avec David Ben-Gourion 129 2.4 Carrière littéraire : chevauchement entre langue arabe et hébraïque 131 2.4.1 Samira, symbole de la minorité 132 2.4.2 « J’ai fait de l’hébreu une langue internationale » 134 5 | 2.5 « Nous sommes encore punis parce que nous sommes restés chez nous » 136 TROISIÈME PARTIE (1967 – 1987) : L’ARABESQUE IDENTITAIRE D’ANTON SHAMMAS 138 CHAPITRE I : CONTEXTE D’UN BILINGUISME LITTÉRAIRE 141 1. Bâtir un dialogue arabe-hébreu 142 2. Les lieux d’expression de l’identité palestinienne en hébreu 145 2.1 Naïm Araïdi, écrire dans une langue sacrée, la première langue monothéiste 145 2.2 Les femmes palestiniennes et l’écriture en hébreu 148 2.3 Le théâtre en hébreu, Mohammed Bakri 150 2.4 La traduction, Mohammed Hamza Ghanayem 152 CHAPITRE II : ANTON SHAMMAS, IDENTITÉ ENTRE ROMAN ET NOUVELLE 155 1. Arabesques, l’identité, les personnages, l’espace et le genre autobiographique 156 1.1 L’arabesque des voix narratives 156 1.2 Israël-Palestine : guerre, narration palestinienne et personnelle 157 1.3 Paris : Métamorphose entre « le Juif du temps » et « l’Arabe du lieu » 161 1.4 Iowa-city : La rencontre entre Shammas et son double palestinien 163 1.5 Les langues d’Arabesques 166 1.6 L’écrivain et narrateur A. Shammas, un récit entre fiction et autobiographie 168 1.7 Arabesques, une œuvre littéraire dans l’œil de la critique arabe et hébraïque 173 1.7.1 Dialogue entre Shammas et ses lecteurs 179 2. La défaite de la Galilée, modification générique pour une narration réaliste 182 2.1 Narrateurs dans l’entrelacement de récits (cadre et encadré) 182 3. Écrire en hébreu, une aventure « sindebadienne » 187 CHAPITRE III : ANTON SHAMMAS, TRADUIRE LES IDENTITÉS DANS L’ÉCRITURE BILINGUE 192 1. Le Kitch identitaire et confusion dans la minorité 193 2. La poésie et le théâtre 197 3. Traduire un espace culturel hybride 201 3.1 Les intentions du traducteur Shammas et de l’écrivain Émile Habibi 203 3.1.1 Auto-traduction et autorité 205 4. Reterritorialisation de la tragédie palestinienne dans la langue hébraïque 207 5. La littérature pour surmonter le Kitsch identitaire du petit-fils 211 6 | QUATRIÈME PARTIE (1988 À NOS JOURS) : LES IDENTITÉS LITTÉRAIRES DE SAYED KASHUA 214 CHAPITRE I : SAYED KASHUA LE « PEPTIMISME » 218 1. Être palestinien et écrire en hébreu au 21e siècle 219 1.1 Ayman Sikseck, (1984 - ) 220 2. Sayed Kashua : le Peptimiste 221 2.1 L’humour et l’ironie, une stratégie de survie 224 2.1.1 Les chroniques, lieu de l’expression politique 226 l’Arabe domestiqué) 228) ,ערבי מחמד Avodat aravit ou 2.1.2 CHAPITRE II : LES IDENTITÉS LITTÉRAIRES DE SAYED KASHUA 233 Remarques sur les transformations génériques dans les textes hybrides de Kashua 233 1. La danse, une métaphore d’une identité impossible 237 1.1 Une quête identitaire par la langue 237 1.2 « L’autre, étranger », le Juif-israélien 238 1.3 « L’autre familier », le Palestinien 241 1.4 La terre, l’espace prison 246 1.5 Le héros-narrateur : « l’autre » 247 1.6 La danse comme métaphore de l’identité 249 1.7 La danse entre abîme et obscurité 252 1.8 La danse entre l’hébreu et l’arabe 256 1.9 Le choix générique d’une identité mimétique 261 2. Identités incertaines 266 2.1 L’intrigue, le retour au village 267 2.2 Un roman politique 270 2.3 L’ironie du statut du Palestinien d’Israël 273 2.3.1 Distanciation 275 2.3.2 Accuser 276 2.3.3 Brutalité 277 3. Nouvelles identités littéraires 280 3.1 Herzl disparaît à minuit (nouvelle) 280 3.1.1 Palestinien et Juif-israélien dans le fantastique 280 3.1.2 Cendrillon à Jérusalem 281 3.1.3 Jeu de la fragmentation des identités 283 3.2 La deuxième personne (roman) 287 3.2.1 Le réel, un procédé romanesque 287 7 | 3.2.2 L’avocat et Amir dans l’espace Jérusalem 288 3.2.3 Identité dans l’espace binaire 292 3.2.4 Le titre : qui est la deuxième personne ? 296 3.2.5 Redéfinir les identités par l’écriture littéraire 298 CONCLUSION GÉNÉRALE 302 BIBLIOGRAPHIE 308 INDEX PAR NOMS 336 ANNEXES 337 Annexe 1 : Traduction du discours de Rashid Hussein 337 Annexe 2 : Traduction des chapitres 6 et 23 de Sous un nouveau jour 338 Annexe 3 : Traduction de Herzl disparaît à minuit de Sayed Kashua 364 Annexe 4 : traduction article de Sayed Kashua 381 8 | REMERCIEMENTS En premier, je tiens à exprimer ma profonde gratitude à ma directrice de thèse, Mme Masha Itzhaki.
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