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Le Vietnam Une Histoire De Transferts Culturels Le Vietnam Une histoire de transferts culturels Hoai Huong Aubert-Nguyen et Michel Espagne (dir.) DOI : 10.4000/books.demopolis.461 Éditeur : Demopolis Année d'édition : 2015 Date de mise en ligne : 30 juin 2016 Collection : Quaero ISBN électronique : 9782354571146 http://books.openedition.org Édition imprimée ISBN : 9782354570774 Nombre de pages : 324 Référence électronique AUBERT-NGUYEN, Hoai Huong (dir.) ; ESPAGNE, Michel (dir.). Le Vietnam : Une histoire de transferts culturels. Nouvelle édition [en ligne]. Paris : Demopolis, 2015 (généré le 10 décembre 2020). Disponible sur Internet : <http://books.openedition.org/demopolis/461>. ISBN : 9782354571146. DOI : https:// doi.org/10.4000/books.demopolis.461. © Demopolis, 2015 Conditions d’utilisation : http://www.openedition.org/6540 Sous la direction de Hoai Huong Aubert-Nguyen et Michel Espagne & Michel Espagne Hoai Huong Aubert-Nguyen LE VIETNAM UNE HISTOIRE DE TRANSFERTS CULTURELS Loin de se résumer à un champ de bataille ou à un espace colonial dont l’émancipa- tion a déclenché tous les mouvements de libération ultérieurs, le Vietnam a été l’un CULTURELS des lieux les plus frappants de rencontres entre les peuples et les cultures dans l’his- toire humaine, un creuset de civilisations par rapport auquel les melting pots les IETNAM TRANSFERTS V plus souvent invoqués se résument à des E DE équations beaucoup plus simples. Il y a L certainement un moment vietnamien de l’histoire globale, les transferts culturels HISTOIRE CULTURELS qui ont formé le pays donnant un écho NE universel aux cataclysmes qui se sont U abattus sur lui. L’histoire ancienne du TRANSFERTS pays est déjà une histoire d’imbrications DE entre les cultures, chinoise et indienne. Ce livre a été conçu par Hoai Huong L’histoire moderne l’est davantage en- Aubert-Nguyen, enseignante de lettres et HISTOIRE core. De la littérature aux beaux-arts en écrivain, et par Michel Espagne, histo- NE passant par les phénomènes religieux, le rien des transferts culturels. Il rassemble . U système éducatif ou la constitution des vingt et un auteurs issus de disciplines savoirs, le temps est venu d’observer le très différentes : spécialistes du Vietnam, IETNAM dense réseau d’interactions qui consti- historiens de l’art, de la littérature, des V E L tuent le Vietnam et le relient au monde. sciences, archivistes. SODIS : 7235500 ISBN : 978-2-35457-077-4 29,50 € -:HSMDPE=Z\U\\Y: www.demopolis.fr Le Vietnam Une histoire de transferts culturels « Quaero » Collection dirigée par Jean-Christophe Tamisier Barbara Cassin et Danièle Wozny (dir.), Les intraduisibles du patrimoine en Afrique subshaharienne. Hosham Dawod (dir.), La constante « Tribu », variations arabo-musulmanes. Christian Ehrenfreund et Jean-Philippe Schreiber (dir.), Les marranismes. De la religiosité cachée à la société ouverte. Alexandre Fontaine, Aux heures suisses de l’école républicaine. Christian Ghasarian, Rapa. Île du bout du monde, île dans le monde. Charles-édouard Niveleau (dir.), Vers une philosophie scientifique. Le programme de Brentano. Pascale Rabault-Feuerhahn (dir.), Théories intercontinentales. Voyages du comparatisme postcolonial. Michèle-H. Salamagne et Patrick Thominet (dir.), Accompagner. Trente ans de soins palliatifs en France. Cet ouvrage a été publié avec le soutien du laboratoire d’excellence TransferS (programme Investissements d’avenir ANR-10-IDEX-0001-02 PSL* et ANR-10-LABX-0099). © Illustration de couverture : Valérie Linder © Éditions Demopolis, 2 015 4, rue Scipion 75005 Paris www.demopolis.fr ISBN : 978-2-35457-077-4 Sous la direction de Hoai Huong Aubert-Nguyen et Michel Espagne Le Vietnam Une histoire de transferts culturels Le présent volume rassemble les contributions présentées à l’occasion d’un colloque qui s’est tenu à l’École normale supérieure et à la Bibliothèque nationale de France du 4 au 6 juin 2014. Cette rencontre s’inscrivait dans le cadre de l’année France- Vietnam organisée par l’Institut français. Il convient de remercier ici l’ENS, le labex TransferS, l’IDEX PSL et la BnF qui ont accueilli cette manifestation, ainsi que l’UVSQ dont plusieurs membres ont activement participé à sa préparation. Merci à Valérie Linder pour l’illustration de couverture.  Les auteurs Nadine André-Pallois (INALCO) Julie Assier (université de Cergy-Pontoise) Hoai Huong Aubert-Nguyen (université de Versailles-St-Quentin) Pierre Brocheux (université Paris-Diderot) Cam Thi DOAN (INALCO) Michel Espagne (CNRS/ENS) Joëlle Garcia (BnF, département des Arts du spectacle/BULAC) Denis Gazquez (BnF, département Philosophie, Histoire, Sciences de l’homme) Jérome Gidoin (université Paris-Descartes) Andrew Hardy (EFEO) Tuân HOANG VAN (université de Versailles-St-Quentin) Olivier Loiseaux (BnF, département des Cartes et Plans) Pierre-Yves Manguin (EFEO) Laurence Monnais (université de Montréal) Giang Huong NGUYEN (BnF, département Littérature et Art) Phuong Ngoc NGUYEN (université Aix-Marseille) Thuy Phuong NGUYEN (université Paris-Descartes) Veronica Ntoumos (Paris IV Sorbonne/Université libre de Bruxelles/ aspirante FNRS) Philippe Papin (EPHE) Alain Ruscio (CID Vietnam) Thanh Vân TON THAT (université Paris-Est-Créteil) 3 Avant-propos Avant-propos l existe des représentations idylliques et oniriques du Vietnam transmises par des romans comme L’Amant de Marguerite Duras ou Ipar des films qui illustrent tantôt une société indochinoise raffinée et menacée de disparition dans Indochine, tantôt la sensualité de la vie quotidienne dans l’Odeur de la papaye verte. Le Vietnam s’identifie alors à une suite de goûts, de senteurs, de paysages, à des végétations incon- nues sous la chaleur écrasante, aux grandioses paysages de la baie d’Ha Long ou du cours du Mékong. Pourtant, le pays s’est aussi et avant tout confondu dans la conscience et l’imaginaire de beaucoup d’Européens, et plus particulièrement de Français, avec l’histoire de deux guerres et de leurs conséquences. La première est associée aux images de Dien Bien Phu ou du bagne de Poulo Condor et de ses cages à tigre, à celle de l’infirmière Geneviève de Galard ou du commissaire politique Georges Boudarel. Elle est souvent représentée à travers le prisme de deux conceptions opposées. L’une met en lumière les combats du Vietminh, dont les partisans apparaissent comme des héros de l’anticolonialisme et de la révolution sociale — cette vision occultant quelquefois des dérives inhumaines, notamment au cours de la révolution agraire. L’autre repose sur la nostalgie d’une époque magnifiée : celle des enseignants français contribuant à la démo- cratisation et à la diversification de la culture en Indochine, celle des gloires et de l’honneur militaires, qui transparaissent dans les films de Pierre Schoendoerffer, où la guerre d’Indochine est perçue in fine comme un combat antitotalitaire — vision qui ne peut s’affranchir d’un soupçon d’indulgence vis-à-vis de la féodalité annamite et du colonialisme. Ces deux conceptions sont évidemment inconciliables. Pour la guerre américaine, on pense à une petite fille brûlée par le napalm qui court sur une route de campagne, au chef de la police de Saigon exécutant un combattant vietcong, à la destruction de Hué et aux 7 Le Vietnam - Une histoire de transferts culturels monstruosités provoquées par l’agent orange, ou plus tard aux derniers officiels américains quittant Saigon par le toit de l’ambassade puis aux boat people errant de Hong-Kong à l’Australie. Du côté des figures vietna- miennes, il y a l’image un peu estompée de l’empereur Bao Dai, celle de Thich Quang Duc s’immolant par le feu, de Ngo Dinh Diem assassiné puis celle de Ho Chi Minh, témoin asiatique du congrès de Tours, et de son général et stratège, enseignant dans le civil l’histoire de France, le général Giap et ses bo doi. Des films comme Apocalypse now, des romans d’émi- grés écrits en anglais pour un public américain comme La nuit nous a surpris de Kien Nguyen ou Entre le ciel et la terre de Ly Hayslip, lui-même adapté dans un film américain, ont façonné une mémoire dominante de cette guerre qui s’est substituée à la mémoire coloniale française, dans laquelle chaque camp, supportant des pertes humaines et symboliques immenses, se définit malgré les antagonismes comme celui de la liberté. Si ces images contradictoires sont souvent liées à la guerre, leur pré- sence obsessionnelle, accordant au fond bien peu de place à la perception proprement vietnamienne de l’histoire du XXe siècle, ont surtout effacé un fait assez simple. Loin de se résumer à un champ de bataille ou à un espace colonial dont l’émancipation a déclenché tous les mouvements de libération ultérieurs, en Afrique notamment, le Vietnam a été l’un des lieux les plus frappants de rencontres entre les peuples et les cultures dans l’histoire humaine, un creuset de civilisations par rapport auquel les melting pots les plus souvent invoqués comme celui des États-Unis se résument à des équations beaucoup plus simples. Il y a certainement un moment vietnamien de l’histoire globale, les transferts culturels qui ont formé le pays donnant un écho universel aux cataclysmes qui se sont abattus sur lui. Le Vietnam a pu être, pour un temps, beaucoup plus qu’un théâtre de guerre, le miroir privilégié d’un basculement du monde. À la vérité, une science des choses vietnamiennes s’est développée en France depuis plus d’un siècle1. Elle s’enracine dans des récits de voyage ou d’expéditions qui ont depuis longtemps cédé la place à des recherches répondant à toutes les exigences de l’érudition historique, depuis les tra- vaux historiques de Lê Thân Khôi jusqu’aux études de Philippe Langlet sur le bouddhisme vietnamien. Nombre d’auteurs de cet ouvrage font partie de la famille des vietnamologues, dont on pourrait dès maintenant reconstruire l’histoire, les terrains de recherche favoris, les habitudes de publication et les questionnements. 1. On pense au récit du docteur Hocquard, Une campagne au Tonkin, réédité par Philippe Papin (1999) et qui décrit le Vietnam des années 1880.
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