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Première Partie AVERTISSEMENT Ce document est le fruit d'un long travail approuvé par le jury de soutenance et mis à disposition de l'ensemble de la communauté universitaire élargie. Il est soumis à la propriété intellectuelle de l'auteur. Ceci implique une obligation de citation et de référencement lors de l’utilisation de ce document. D'autre part, toute contrefaçon, plagiat, reproduction illicite encourt une poursuite pénale. Contact : [email protected] LIENS Code de la Propriété Intellectuelle. articles L 122. 4 Code de la Propriété Intellectuelle. articles L 335.2- L 335.10 http://www.cfcopies.com/V2/leg/leg_droi.php http://www.culture.gouv.fr/culture/infos-pratiques/droits/protection.htm Ecole doctorale PIEMES Centre de recherche ÉCRITURES (EA 3943) L’ÉVOLUTION DE LA LITTÉRATURE SOCIO- POLITIQUE DE L'IRAN SOUS L’INFLUENCE DE LA LANGUE ET DE LA LITTÉRATURE FRANÇAISES (1900-1935) Thèse présentée par Mme Tahereh SHAMSI BIDROUNI pour l’obtention du doctorat en Langues, littératures et civilisations Spécialité : Littérature générale et comparée Sous la direction de P. Halen Soutenance : jeudi 23 février 2012 Jury : M. Olivier BONNEROT, rapporteur M. Romuald FONKOUA, rapporteur M. Marc-Matthieu MÜNCH, membre M. Pierre HALEN, directeur de recherche M. Tahmouress SADJEDI, rapporteur 1 REMERCIEMENT Pour la réalisation de cette thèse, je suis redevable à beaucoup de gens. Dřabord je remercie mon professeur, Monsieur Pierre Halen qui a accepté de diriger cette thèse ; ensuite je remercie ma famille : mon mari, Monsieur Aboutaleb Soltanian et mes deux enfants, Saeid et Nahid, qui ont certainement supporté des difficultés au cours de mes recherches, surtout lors de mon séjour en France. Il convient également que je me souvienne de mes défunts parents et leur encouragement à continuer mes études. 2 Je dédie cette thèse à tous les patriotes dans le monde qui ont combattu héroïquement contre le colonialisme et ont défendu les frontières de leurs patries. Je lřoffre également à tous les esprits libéraux qui ont lutté courageusement pour la liberté, lřégalité et la fraternité. 3 INTRODUCTION La littérature persane contemporaine est caractérisée par une évolution au niveau du style et des thèmes, ainsi que par lřadoption de nouveaux genres littéraires, ce qui, selon les historiens de la littérature, a résulté de lřinfluence de la littérature russe, anglaise et surtout française. Cette théorie nous a poussée à faire une recherche concernant la part de cette dernière dans lřévolution en question, en posant quelques questions : 1. Quels facteurs ont contribué à rendre sensible la société persane à la littérature française ? 2. Quel a été le rôle de la traduction dřouvrages français dans lřévolution de la littérature persane contemporaine ? 3. Influencé par quels auteurs européens Djamalzadeh a-t-il composé son premier recueil, Yéki boud-o yéki naboud (Il était une fois) ? 4. Quelle modification profonde a subie la qésséh persane après la publication de Yéki boud-o yéki naboud ? Pour répondre aux questions ci-dessus, il nous a paru nécessaire dřanalyser, dans une première partie, les relations politiques et culturelles de lřIran et de la France, ainsi que le rôle des Persans dans la diffusion de la langue et de la littérature françaises dans l'Iran contemporain. Lřenvoi dřétudiants persans en France, la fondation de Dâr ol-Fonoun, la mise en place de lřimprimerie, la 4 fondation de Dâr ot-Tarjomeh (le centre de traduction), la traduction dřouvrages français et la reconnaissance de la langue française comme la langue officielle étrangère en Perse, sont autant de sujets que nous aborderons dans cette partie. Lisant les traductions dřouvrages européens, les écrivains persans ont tendu vers une plus grande simplicité de la prose. Ce quřon appelle la « littérature socio-politique » persane est née vers la deuxième moitié du XIXe siècle ; les idées progressistes, voire révolutionnaires, venant de lřEurope, et notamment de la France, ont envahi dřabord la prose et puis la poésie, après la révolution constitutionnelle, donnant lieu à des œuvres sans précédent dans la littérature classique persane. Les poètes, tout en gardant au début la forme classique, ont introduit une nouveauté thématique dans la poésie et, puis, en 1923, Nimâ Youchij, en composant Afsânéh (la légende) et en présentant une nouvelle forme littéraire, ch‛ré now (la poésie moderne), fit en réalité une révolution dans la poésie classique persane. Dans la deuxième partie, nous avons consacré dřabord un chapitre à la Révolution constitutionnelle de lřIran (1905-1912), contexte qui nous sert à mieux comprendre cette « littérature socio-politique » persane de lřépoque. Qualifier cette production, dřune manière générale, de « socio-politique » est un usage déjà bien établi chez les historiens 1, et nous le reprendrons à notre compte. Il est difficile, en effet, de la qualifier de « militante » ou dř« engagée », car les écrivains et les poètes de cette époque ne défendaient pas une idéologie particulière, ou, du moins pas une idéologie aussi caractérisée que lorsquřon parle, pour la littérature française au XXe siècle singulièrement, de militantisme 1 Cette expression est utilisée à titre dřexemple par Mohammad Reza Tabrizi Chirazi, dans son ouvrage intitulé : Naqché Freydoun Tavalloli dar adabiyâté siâsi éjtémâeiyé hokoumaté Mohammad Reza Pahlavi ; par Seyyed Morteza Meřraji dans son article intitulé : Moqaddamei bar ch’ré siâsi-éjtémâei dar zabâé fârsi ; ou encore par Jila Serati dans son article intitulé : Matlaé adabiyâté siâsi dar Irâné Moâsér. 5 ou dřengagement. « Littérature socio-politique » signifie ici : « littérature à thème socio-politique » au sens large. Un problème un peu semblable est posé par lřadjectif « révolutionnaire » et le nom « révolution » : il va de soi quřen recourant à eux dans les pages qui suivent, nous nous plions à lřusage qui en est généralement fait en relation avec la période de la Révolution constitutionnelle en Iran, et non en fonction dřautres contextes, où ils ont pu prendre des significations légèrement différentes. En particulier, rappelons quřils sont également appliqués, dans le contexte iranien, à deux partis différents ; lřun, qualifié dř« extrémiste » ou de « démocrate » voulait renverser la monarchie, éventuellement par la violence et le terrorisme ; lřautre, le parti modéré, sřaccommodait de la monarchie tout en réclamant néanmoins, lui aussi, des changements radicaux en matière dřégalité entre les sexes, les religions, les statuts, etc. Ensuite, nous avons estimé nécessaire de situer en particulier dans ce contexte les œuvres de deux journalistes : Ali Akbar Dehkhoda et Seyyed Achrafaddin Qazvini (Guilani) ainsi que de deux prosateurs : Abdorrahim Najjar Tabrizi et Zeyn ol-Abedin Maragheï. Cette approche encore générale nous servira à identifier les origines de lřévolution de la prose persane contemporaine, dont le ressort fut la traduction dřouvrages européens. Nous traiterons aussi du journal Nasimé Chomâl, car, bien quřil sřagisse là de poésie, on y voit apparaître les thèmes socio-politiques que le poète avait introduits dans ses vers, tout en gardant le style classique persan. Lřétude de Čarand-o parand (sornette, ânerie ou bêtise) montrera la grande importance des écrits de Dehkhoda. Elle nous servira à préciser la part que lřauteur a eue dans la naissance de la nouvelle persane ainsi que dans la mise en œuvre du langage populaire. Nous verrons en particulier comment lřarticle du numéro 27/28, intitulé Qandroun, a jeté en réalité les bases primitives de la nouvelle persane qui atteindra ensuite son apogée avec Yéki boud-o yéki naboud (Il était une fois), le recueil dřinspiration réaliste de lřécrivain Djamalzadeh. Pour cette raison, nous citerons le texte 6 intégral de cet article qui nous permettra de à ne pas perdre de vue le rôle de Dehkhoda dans la naissance de la nouvelle persane. Dans la troisième partie, nous consacrerons dřabord un chapitre aux facteurs qui ont favorisé la genèse du premier recueil de nouvelles persanes, Yéki boud-o yéki naboud, en 1921. Lřanalyse de la préface du recueil, nous le verrons, sřavère aussi importante que celle des nouvelles. Ce texte liminaire est considéré en effet comme une sorte de manifeste pour la prose persane contemporaine, dans lequel Djamalzadeh invite ses collègues à écrire en une langue vivante, simple et compréhensible et à composer des romans. Mais ce quřil demandait, ses devanciers lřavaient déjà commencé ; Qařem Maqam Farahani avait fait les premiers pas en direction dřune simplification de la prose, puis, dřautres écrivains lřavaient suivi. Zeyn ol-Abedin Maragheï avait publié, dans un langage simple, les trois tomes de son roman social entre les années 1895-1909 ; après cela, les premiers romans socio-historiques, conçus dans le but dřexciter le sentiment nationaliste, étaient parus depuis lřannée 1910. En étudiant la préface de Yéki boud-o yéki naboud où lřauteur présente La Guerre des Turcomans et Histoire de Gambèr-Aly du recueil Des nouvelles asiatiques de Gobineau ainsi que le roman de Hâji Bâbâ de Morier comme les meilleurs nouvelles et roman concernant lřIran, nous montrerons quřils ont influencé Djamalzadeh dans la composition de son recueil. La similarité entre quelques nouvelles de Yéki boud-o yéki naboud et celles de Gobineau sera examinée. Le roman de Hâji Bâbâ de James Morier, auteur anglais lié à lřorientalisme, est un roman dřesprit colonial, en ce sens quřil développe une image à la fois obscure, inerte et impure de lřIran. Morier lui-même avait subi en
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