Etude Comparative Transdisciplinaire De La Figure Du Cosaque, Dans La Littérature Et Le Cinéma Amine Afellous

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Etude Comparative Transdisciplinaire De La Figure Du Cosaque, Dans La Littérature Et Le Cinéma Amine Afellous Etude comparative transdisciplinaire de la figure du cosaque, dans la littérature et le cinéma Amine Afellous To cite this version: Amine Afellous. Etude comparative transdisciplinaire de la figure du cosaque, dans la littérature et le cinéma. Art et histoire de l’art. Université de Nanterre - Paris X, 2019. Français. NNT : 2019PA100066. tel-02929659 HAL Id: tel-02929659 https://tel.archives-ouvertes.fr/tel-02929659 Submitted on 3 Sep 2020 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. Ecole doctorale 395 : Milieux, cultures et sociétés et passé et du présent Membre de l’université Paris Lumières Amine Afellous Etude comparative transdisciplinaire de la figure du cosaque, dans la littérature et le cinéma. Thèse présentée et soutenue publiquement le 14/10/2019 en vue de l’obtention du doctorat de Arts du spectacle: cinéma de l’Université Paris Nanterre sous la direction de M. Antoine de Baecque (Ecole Normale Supérieure) Jury : Rapporteur·e : Mme Marie-Pierre Rey Professeur d'Histoire russe et soviétique, Université Paris 1 Panthéon-Sorbonne Rapporteur·e : M. Alexandre Stroev Professeur de Littérature générale et comparée, Université Paris 3 Sorbonne-Nouvelle Membre du jury : Mme Karen Haddad Professeur de Littérature comparée, Université Paris Nanterre Membre du jury : Mme Laurence Schifano Professeur d'Etudes cinématographiques, Université Paris Nanterre 1 REMERCIEMENTS. Je tiens à remercier mon directeur de recherche M. Antoine Debaecque qui a su me faire confiance durant ces huit dernières années ainsi qu’au personnel administratif de l’ED 138. En amont de ce travail, je tenais aussi à exprimer ma reconnaissance à Mme Karen Haddad qui a dirigé mes premières recherches en Master sur les cosaques en littérature. Pour leurs relectures et leur conseils j’aimerai exprimer ma gratitude à Pierre Augros, Virgile Leca, Joël Augros, Louis Philippon, Coralie Quehen, ainsi qu’à tout ceux qui m’ont soutenu dans mes recherches. 2 À Carolann Brisset, Olsene Essoh et à leurs familles… 3 SOMMAIRE. REMERCIEMENTS. ................................................................................................................. 2 SOMMAIRE. ............................................................................................................................. 4 Introduction générale. ................................................................................................................. 8 1ère Partie : Les cosaques dans l’Histoire. ................................................................................ 11 Introduction. ......................................................................................................................... 11 Chapitre I : Qui sont les cosaques ? ...................................................................................... 11 1. Etymologie du terme cosaque. ................................................................................... 12 2. La naissance des cosaques d’Ukraine. ....................................................................... 12 3. Les autres communautés cosaques. ........................................................................... 21 Chapitre II : Les cosaques dans l’histoire russe et ukrainienne. ........................................... 25 1. Les cosaques ukrainiens. ........................................................................................... 25 2. Les cosaques russes. .................................................................................................. 30 Chapitre III : La Scythie antique. ......................................................................................... 44 1. Une culture nomade et guerrière. .............................................................................. 45 2. Leur religion et leurs rites funéraires. ........................................................................ 46 Conclusion. ........................................................................................................................... 48 2ème partie : Le mythe littéraire des cosaques. .......................................................................... 49 Introduction. ......................................................................................................................... 49 Chapitre I : Le mythe cosaque avant le XIXème siècle. ......................................................... 50 1. Des guerriers barbares ............................................................................................... 51 2. Une société utopique et égalitaire de guerriers libres. ............................................... 57 3. Le mythe des Amazones et de la Scythie antique. .................................................... 65 Conclusion. ........................................................................................................................... 68 Chapitre II : l’image négative des cosaques lors de la Campagne de France. ...................... 69 4 Introduction. ......................................................................................................................... 69 1. Les barbares du Nord. ................................................................................................ 70 2. Ennemis de la civilisation. ......................................................................................... 74 3. De piètres guerriers. ................................................................................................... 80 Conclusion. ........................................................................................................................... 84 Chapitre III : La représentation de cosaques restés célèbres au XIXème siècle. .................... 85 1. Mazepa, entre héros au destin romantique et traître fourbe....................................... 85 2. Khmelnytsky, un habile homme d’Etat. .................................................................... 92 3. L’influence du mythe littéraire des cosaques dans la peinture au XIXème siècle. ..... 95 Conclusion. ........................................................................................................................... 97 3ème Partie : Le mythe cosaque au cinéma. ............................................................................... 98 Introduction. ......................................................................................................................... 98 Chapitre I : Les adaptations de La Fille du capitaine. ........................................................ 102 1. Une barbarie exotique. ............................................................................................. 104 2. Le cosaque héros du peuple. .................................................................................... 122 3. Un symbole de liberté. ............................................................................................. 142 Conclusion. ......................................................................................................................... 156 Chapitre II : Les films occidentaux. ................................................................................... 158 The Cossacks, George William Hill et Clarence Brown – 1928. ....................................... 158 1. De la tribu exotique à la horde barbare. ................................................................... 160 2. Lukashka et Maryana, deux symboles de liberté. .................................................... 171 3. Lukashka le héros cosaque. ..................................................................................... 176 Tarass Boulba, Alexis Granowsky – 1936. ........................................................................ 183 The Rebel Son (Le fils rebelle), Adrian Brunel – 1938. ..................................................... 183 1. Des Barbares exotiques ........................................................................................... 185 2. Un chef barbare : Tarass Boulba ............................................................................. 190 3. Les cosaques en tant que symbole de liberté ........................................................... 195 5 Taras Bulba, Jack Lee Thompson – 1962. ......................................................................... 207 Le fils de Tarass Boulba, Henri Zaphiratos – 1964. .......................................................... 207 1. Une barbarie exotique. ............................................................................................. 208 2. Tarass Boulba, un héros cosaque. ............................................................................ 213 Conclusion. ......................................................................................................................... 219 Chapitre III : Les films russes et soviétiques. ..................................................................... 220 Казаки (Les cosaques), Vassili Pronine – 1961. ................................................................ 220 1. Un Caucase
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