Influences De La Poésie Moderne Française Sur La Poésie Contemporaine Persane : Étude De L’Oeuvre De Nâderpour, Honarmandi Et Eslâmi-E Nodouchane Chahab Sarrafian

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Influences De La Poésie Moderne Française Sur La Poésie Contemporaine Persane : Étude De L’Oeuvre De Nâderpour, Honarmandi Et Eslâmi-E Nodouchane Chahab Sarrafian Influences de la poésie moderne française sur la poésie contemporaine persane : étude de l’oeuvre de Nâderpour, Honarmandi et Eslâmi-e Nodouchane Chahab Sarrafian To cite this version: Chahab Sarrafian. Influences de la poésie moderne française sur la poésie contemporaine persane: étude de l’oeuvre de Nâderpour, Honarmandi et Eslâmi-e Nodouchane. Littératures. Université de Strasbourg, 2016. Français. NNT : 2016STRAC021. tel-03114717 HAL Id: tel-03114717 https://tel.archives-ouvertes.fr/tel-03114717 Submitted on 19 Jan 2021 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. FACULTE DES LETTRES EA 1337 - CONFIGURATIONS LITTERAIRES Ecole Doctorale des Humanités : ED 520 THESE PRESENTEE POUR L’OBTENTION DU DOCTORAT EN LITTERATURE FRANÇAISE GENERALE ET COMPAREE CHAHAB SARRAFIAN Influences de la poésie moderne française sur la poésie contemporaine persane : Etude de l’œuvre de Nâderpour, Honarmandi et Eslâmi-e Nodouchane Présentée et soutenue publiquement le 15/ 06/ 2016 Devant un jury composé de : Mme le Professeur Michèle FINCK (Université de Strasbourg, Directrice de recherche) Mme le Professeur Christine DUPOUY (Université de Tours) Mme le Professeur Sophie GUERMES (Université de Brest) Mr le Professeur Hossein BEIKBAGHBAN (Université de Strasbourg) 1 REMERCIEMENTS Tout d’abord, je tiens à remercier ma directrice de thèse, Mme le Professeur Michèle Finck, de m’avoir apporté ses conseils pendant ces années de recherche en thèse. Ses recommandations et sa lecture critique m’ont été d’une aide inestimable et m’ont permis de mener à bien ce travail. Je remercie vivement les membres du jury, Mme le Professeur Sophie Guermès, Mme le Professeur Christine Dupouy et M. le Professeur Hossein Beikbaghban pour avoir accepté d’évaluer mon travail. Je remercie aussi beaucoup M. le Professeur Seyed Mahdi Zarghani, professeur à l’Université de Machhad. Nos discussions scientifiques m’ont permis d’approfondir ce travail de thèse, particulièrement au niveau de la poésie contemporaine persane. Grand merci aussi au Professeur et poète M. Mohammad Ali Eslâmi-e Nodouchane pour les conseils et les discussions précieuses sur sa poésie. Sans oublier de remercier son ami Hossein Masarrat qui m’a aidé avec des articles sur la poésie de ce dernier. Grand merci au poète alsacien, M. Jean-Paul Klée, qui m’a aidé par ses conseils précieux à traduire les trois poètes en français. Je n’oublie pas de remercier également Mme le Professeur Béatrice Vaxelaire et M. le Professeur Rudolph Sock, respectivement, Directrice de l’Institut de Phonétique de Strasbourg, et Directeur de UR 1939 Linguistique, Langues et Parole - LiLPa, qui m’ont offert la possibilité de travailler à l’Institut de Phonétique de Strasbourg, ce qui m’a permis d’avancer dans le travail. Je remercie la fille du poète Fereydoun Tavallali, Madame Fariba Tavallali, ainsi que son mari, Monsieur Arbogast, pour leurs aides en termes d’ouvrages et de conseils concernant la vie et l’œuvre de Fereydoun Tavallali. Je remercie M. le Professeur Mortezâ Fallâh-e meybodi pour m’avoir offert son ouvrage Bahre-mandi-e châerân az châerân (Bénéfices des poètes de leurs prédécésseurs) et m’avoir prodigué de bons conseils concernant la poésie contemporaine persane. Je remercie mes relecteurs : Fayssal Bouarourou, Saïd Bouzidi, Fadila Azzag, Hasna Zaouali et ma collègue de travail à la bibliothèque de l’Université de Strasbourg Mme Catherine Bitch. Merci à ma mère et ma grande sœur qui m’ont soutenu pendant toutes ces années de recherche, et à ma famille en Iran, qui bien qu’éloignée physiquement, a été toujours là pour moi. Mille mercis à toute personne ayant contribué de près ou de loin à l’aboutissement de ce travail, quelle que soit la forme du soutien ; moral, technique, logistique, etc. 2 REMARQUE PAR RAPPORT AUX TRADUCTIONS Avant de passer à l’analyse des poèmes appartenant aux trois poètes, en l’occurrence, Nâderpour, Eslâmi-e Nodouchane et Honarmandi, nous voudrions souligner tout d’abord qu’après avoir constaté le manque terrible de traductions en français des poèmes de ces auteurs, nous nous sommes mis à la traduction de ces derniers. Ceci a nécessité un travail colossal qui nous a pris beaucoup de temps. En revanche, sont traduits seulement les poèmes qui feront l’objet de l’analyse dans le cadre de ce travail de recherche. Il s’agit donc d’un travail de pionnier qui mérite d’être affiné et poursuivi : c’est ce que nous voudrions faire dans nos recherches futures. Toutes les traductions présentes dans cette thèse sont donc faites par nous-même. Aussi, nous voudrions souligner que notre contact direct avec l’un de ces trois poètes, en l’occurrence, Eslâmi-e Nodouchane, nous a facilité la tâche de traduction. Ce poète nous a beaucoup aidé par ses conseils précieux quant à la traduction de ses propres poèmes. Pour ce qui est de la forme, dans ces traductions, nous avons respecté parfois la forme originale : les quatrains continus par exemple. En revanche, il nous a été souvent difficile de respecter les rythmes prosodiques et les rimes existant dans la poésie persane, quoique le poète Honarmandi ait réussi à le faire, nous en avons parlé dans le chapitre concernant ce poète. L’introduction de cette thèse a été rédigée en prenant appui sur les cours de M. le professeur Chafiï kadkani et Mme le Professeur Mahvache Ghavimi aux Universités de Téhéran et Chahid Béhéchti à Téhéran. 3 0 Introduction Résumée de plus d’un millénaire d’espoirs et d’idéaux, de pensées et d’actions, la poésie persane renferme une grande richesse, une merveille de sens, de concepts et de thèmes. Elle est le véhicule du savoir de l’Iran. En effet, dans ce pays, la plupart des sciences – telles que la philosophie, la théologie, la métaphysique, l’histoire, la médecine, l’astronomie, etc. – se sont transmises sous une forme versifiée. L’étude du passé de l’Iran, ne peut donc se faire sans un passage préalable par la poésie, sans une confrontation du chercheur à la parole rythmée. L’étude de la versification persane et de son évolution recoupe nécessairement l’étude de l’histoire et de l’évolution de la pensée. Bien que nombre d’œuvres scientifiques et versifiées puissent ne présenter que peu ou pas d’intérêt au regard de l’art poétique, leur valeur en temps que support de la connaissance de l’Iran ne peut être niée. La poésie persane, outre sa valeur littéraire, est donc un outil pour connaitre l’Iran et le peuple iranien. De fait, il est impossible d’étudier l’histoire de la pensée, l’élévation et la décadence de la civilisation iranienne, sans considérer la poésie. L’itinéraire de la poésie persane, depuis ses premiers siècles à nos jours, retrace les apogées et déclins de ce peuple, à travers différentes méthodes et procédés. En effet, les poètes et les auteurs persans ont emprunté différents chemins pour créer leurs œuvres. Les uns, grâce à leur talent - qu’il soit inné, ou fruit d’une pratique et d’un travail soutenu –, sont parvenus au sommet des créations littéraires. Les autres, dans l’embarras de la stagnation, se sont perdus dans les méandres de l’imitation. Imitateurs noyés dans l’œuvre des autres, leur poésie conserve néanmoins un lien ancien et incassable avec la culture et la civilisation iraniennes ; culture et civilisation iraniennes qui malgré, ou de part, leurs élévations et décadences, conservent un éclat certain dans le monde d’aujourd’hui. C’est à la poésie que la culture iranienne doit son succès, ainsi qu’à ses poètes qui, chacun à une période de l’histoire de l’Iran, sont venus au monde et se sont efforcés d’améliorer et de développer la culture iranienne en créant une œuvre. 4 Par conséquent, l’étude des relations entre les poètes et de leur point de vue vis-à-vis d’eux- mêmes a toujours eu une importance considérable. Cette démarche entre dans le cadre de la littérature comparée. L’intérêt de ces recherches réside en ce qu’elles nous permettent de mieux connaître les valeurs de chaque poète, et ainsi de pénétrer minutieusement le domaine de leur création et de leur originalité. En effet, les critiques littéraires ont mis en évidence qu’ « aucune œuvre littéraire ne se répand uniquement de la plume et de la pensée d’un poète ou d’un homme de lettres. La création absolue et sans précédent, si elle n’est pas totalement introuvable, est certainement rare ».1 Au vu de ce constat, tout poète pourrait-être accusé d’imitation, de plagiat ; et cette accusation ne concerne pas seulement les auteurs iraniens, mais peut s’étendre à tous les peuples. En effet, le grand poète arabe Bouhtouri2 a été accusé de plagier les vers d’Aboutamâm3. Djâmi4, quant à lui, dans la poésie persane, est appelé par ses contemporains, le « plagiaire des maîtres fameux du langage »5. Hâfez et Saadi ont également été accusés de puiser leurs thèmes, leurs concepts, leurs expressions et leurs locutions dans les recueils d’autres poètes. Ainsi, s’inspirant des vers d’Obeid- e Zâkâni qui avait écrit : J’imagine parvenir à cacher le mystère du cœur 6 Comment peut-on soigner les yeux en larmes ? , Hâfez écrivit J’ai peur que la larme dans notre mélancolie ne dévoile
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