Esta tese investiga a obra do autor português Gonçalo M. Tavares, Uma Viagem à Índia (2010), texto que encarna uma dupla possibilidade de leitura: a de uma narrativa versificada, (anti)épica; e, a de um conjunto de pequenos poemas líricos organizados pelo instrumento visual contido no final do livro. Tavares subverte a forma épica em um movimento que, ao mesmo tempo em que recorre ao modelo épico na origem da literatura, também nos remete a uma temporalidade pósmoderna, pós-figurativa e pós-representativa, num arranjo estético e temático bastante contemporâneo. A temática extraída deste corpus de investigação é a possibilidade de sobrevivência do modelo épico na literatura de viagem contemporânea. Tavares, ao estabelecer profunda intertextualidade com Os Lusíadas, joga com a forma híbrida e inacabada do romance, convertendo-o num longo poema narrativo, mas também numa lírica breve e numa extensa profusão aforística, mapeados ao final da obra por meio de uma interessante invenção paratática. Este instrumento visual “ilumina” a feitura textual épica fragmentada em lírica, garantindo a sua “sobrevivência”, conceito tomado de Georges Didi-Huberman em sua obra Sobrevivência dos vaga-lumes (2011). Tal subversão, ocorrida no interior da épica, forma poética seminal e grandiloquente – portanto, uma forma poética “maior” –, imputa-lhe um índice subversivo que a “minoriza”, isto é, torna-a uma “poética menor” no contemporâneo, movimento este semelhante ao teorizado por Deleuze & Guattari em Kafka por uma literatura menor (1975). / This thesis investigates the work of the Portuguese author Gonçalo M. Tavares, Uma Viagem à Índia (2010). This text embodies a double possibility of reading: that of a (anti)epic versified narrative; and that of a set of small lyric poems organized by the visual instrument presented at the end of the book. Tavares subverts the epic form in a movement that, while appealing to the epic model in the origin of literature, also refers to a postmodern, postfigurative and post-representative temporality, in a very contemporary aesthetic and thematic arrangement. The thematic extracted from this corpus of investigation is the possibility of survival of the epic model in the contemporary travel literature. Tavares, by establishing deep intertextuality with Os Lusíadas, plays with the hybrid and unfinished form of the novel, making it in a long narrative poem, but also in a brief lyric and an extensive aphoristic profusion, charted at the end of the work through an interesting paratactic invention. This visual tool "illuminates" the fragmented epic textual making in lyric, ensuring its "survival", concept taken from Georges Didi-Huberman in his work Sobrevivência dos vaga-lumes (2011). Such subversion, occurring within the Epic, a seminal and grandiloquent poetic form - therefore a "major" poetic form - impute to it a subversive index that "minorizes" it, that is, makes it a "minor poetic" in the contemporary. This movement is similar to the theorized by Deleuze & Guattari in Kafka por uma literatura menor (1975).

Nesta tese, irei investigar as implicações que o uso consistente que Píndaro e Baquílides fazem do termo têm para a ocasião de performance dos epinícios. Irei argumentar, do ponto de vista da Linguística e da Poética Cognitivas, que, através de uma análise das passagens relevantes da literatura grega, de Homero ao drama do século V, o termo sempre implica algum tipo de celebração, seja móvel ou não, e que ele nunca é usado para denotar canção ou coro. Também irei argumentar que implica um frame dentro de um Modelo Cognitivo Idealizado para CELEBRAÇÃO DE VITÓRIA, dentro do qual referências às odes devem ser entendidas. Baseando-me nesta análise irei discutir as implicações dos resultados e reexaminar a pressuposição, atualmente tida como não problemática, segundo a qual as odes eram sempre executadas por um coro em sua première. Além disso, irei discutir também o problema da identificação da persona loquens nos poemas e irei propor que, na maioria dos casos, ela nunca parece se referir a um coro. Finalmente, discutirei alguns cenários de transmissão das odes, propondo que a escrita não precisa ser proposta para a transmissão do texto até uma data bem tardia e que uma tradição de reperformances orais dos poemas deve ter tido um papel essencial na preservação do texto. / In this thesis I shall investigate the implications of the consistent use Pindar and Bacchylides make of the term to the occasion of the performance of the epinikia. I shall argue, from the perspective of Cognitive Linguistics and Poetics, that, through the 9 analysis of the relevant passages in Greek literature from Homer to the V century drama, the term always implies some sort celebration, either mobile or not, and that it is never used to denote either song or chorus. Most importantly I shall argue that implies a frame in an Idealized Cognitive Model for VICTORY CELEBRATION within which references to the victory ode must be understood. Based on this, I shall discuss the implications of these results and try to reexamine the assumption, held as unproblematic by the majority of critics, that the victory odes were always performed chorally on its premiere. Additionally I shall also discuss the problems of identifying the persona loquens in the poems and I shall propose that in most cases it never seems to refer to a chorus. Finally, I shall discuss some scenarios of transmission of the odes, proposing that writing needs not be assumed for the transmission of the text until a fairly late date and that a continuous tradition of oral reperformances must have played an essential role in the preservation of the text.

Esta pesquisa tem como objeto de estudo o sujeito híbrido pós-colonial e o discurso que são analisados na obra poética do escritor moçambicano Rui Knopfli, sob as perspectivas dos Estudos Culturais trazidas por Homi K. Bhabha, Stuart Hall e Edward Said. Também serviu de base para o estudo do discurso do conjunto poético knopfliano a Análise do Discurso Francesa representada, principalmente, pelos estudos de Michel Pêcheux e, para as análises poéticas, a Fenomenologia de Bachelard e os escritos de Octavio Paz sobre a linguagem poética. Foram analisadas as condições de produção e o contexto histórico em que a referida obra poética foi produzida. Período em que se inicia antes das guerras de libertação do jugo colonialista e que segue após a independência em 1975. O sujeito híbrido na obra de Knopfli apresenta um discurso que se divide entre a posição-sujeito africana e a posição-sujeito europeia, visto que está sob a influência desses contextos históricos e culturais. Não está em consonância política nem com o discurso colonialista português nem com o discurso nacionalista africano, por isso é um sujeito híbrido à deriva e que seguiu as malhas da diáspora. Seu discurso poético representa a inconstância de quem sofre por não ser aceito pelo fato de não se engajar de forma efetiva, em um período no qual se exigia um posicionamento ferrenho contra a política colonial. Seus versos falam sobre o silenciamento, sobre vozes ciciadas pela engrenagem de um período histórico marcado por guerras e injustiças. / This research studies the postcolonial hybrid subject and the discourse that are analyzed in the poetic work of the mozambican writer Rui Knopfli, on the perspectives of the Cultural Studies by Homi K. Bhabha, Stuart Hall and Edward Said. The Analysis of the French Discourse, represented by the studies of Michel Pêcheu, it was also used as a basis for study the discourse of the poetic work of Knopfli, as well as The Phenomenology of Bachelard to the poetic the analysis and the writings of Octavio Paz on a poetic language. The conditions of production and the historical context in which poetic work was produced were analyzed. This period begins before the wars of liberation from the colonialism and goes after the independence in 1975. The hybrid subject in Knopfli's work shows a discourse that was divided between an African subject-position and a European subject-position, considering that it’s on the influence of historical and cultural contexts. It isn’t in political consonance with the Portuguese colonialist discourse or with the African nationalist discourse either, so it’s a hybrid subject adrift and that has followed the way of the diaspora. His poetic discourse represents the fickleness from who suffer for not being accepted by the fact of not being engage in an effectively way, in a period which was necessary a fierce position against a colonial politic. His verses talks about to be silenced, about voices whispering by the gear of a historic period marked by wars and injustices.

Jusqu’au milieu du XXe siècle, la littérature kabyle fut essentiellement orale et s'exprimait principalement dans le genre poétique. Si les contes, les fables, les légendes et autres récits mythiques furent l'autre moyen par quoi les Kabyles exprimèrent leur génie, il reste que c’est la poésie qui fût la matrice de leur culture et le réceptacle de leur histoire. Plus qu’un art qui doit transfigurer le réel, la poésie kabyle a pour rôle de rendre ce réel, l’interpréter et le clarifier pour donner du sens aux événements historiques et politiques auxquels sont confrontés les hommes et les femmes de cette région. L’objet de notre recherche est de partir de la production poétique la plus ancienne telle qu’elle est arrivée à nous par les recueils de Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887), Jean Amrouche (1988) et la somme considérable établie par Mouloud Mammeri (1969, 1980, 1989) afin de scruter l’horizon culturel de la Kabylie et saisir, à travers l’étude les textes, l’homme dans son enracinement social et culturel. / Until the middle of the twentieth century, Kabyle literature was essentially oral and was mainly expressed in the poetic genre. If tales, fables, legends and other mythical narratives were another way by which the Kabyle people expressed their genius, it remains that poetry was the matrix of their culture and the receptacle of their history. The Kabyle poetry, more than an art that has to transfigure reality, has the role of rendering this reality, interpreting it and clarifying it to give meaning to the historical and political events.The object of our research is to start from the earliest poetic production as it came to us by the collections of Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887) Jean Amrouche (1988) and the considerable sum established by Mouloud Mammeri (1969, 1980, 1989) in order to examine the cultural horizon of Kabylia through the study of its oral poetry.

Dans une période de ralentissement de la production théorique littéraire en France, la Poétique de la Relation d’Édouard Glissant apparaît comme une proposition novatrice qui renouvelle la conception de la littérature. Elle est le résultat d’une pensée qui suppose une prise de position épistémologique majeure, car elle produit dans le champ de la théorie littéraire un nouveau type de discours. Nous l’appellerons discours poético-théorique du littéraire car il est le reflet de la place que la poésie prend dans la proposition de l’auteur comme un moyen privilégié pour une réflexion sur le littéraire. Bien que Glissant veuille éviter tout système de pensée, son discours poético-théorique s’organise pour décrire et expliquer des phénomènes littéraires. La thèse actualise les interprétations et les usages jusque-là connus des concepts glissantiens et les met à l’épreuve d’un corpus d’auteurs des Amériques. L’étude d’Écue-Yamba-O d’Alejo Carpentier, l’analyse comparée de Hijo de Hombre d’Augusto Roa Bastos et de Texaco de Patrick Chamoiseau ainsi qu’une lecture de Sartorius. Le roman des Batoutos d’Édouard Glissant cernent de plus près les modalités par lesquelles se confirment l’adéquation et la productivité des outils que la Poétique de la Relation apporte réellement au domaine des études littéraires.Dans une période de ralentissement de la production théorique littéraire en France, la Poétique de la Relation d’Édouard Glissant apparaît comme une proposition novatrice qui renouvelle la conception de la littérature. Elle est le résultat d’une pensée qui suppose une prise de position épistémologique majeure, car elle produit dans le champ de la théorie littéraire un nouveau type de discours. Nous l’appellerons discours poético-théorique du littéraire car il est le reflet de la place que la poésie prend dans la proposition de l’auteur comme un moyen privilégié pour une réflexion sur le littéraire. Bien que Glissant veuille éviter tout système de pensée, son discours poético-théorique s’organise pour décrire et expliquer des phénomènes littéraires. La thèse actualise les interprétations et les usages jusque-là connus des concepts glissantiens et les met à l’épreuve d’un corpus d’auteurs des Amériques. L’étude d’Écue-Yamba-O d’Alejo Carpentier, l’analyse comparée de Hijo de Hombre d’Augusto Roa Bastos et de Texaco de Patrick Chamoiseau ainsi qu’une lecture de Sartorius. Le roman des Batoutos d’Édouard Glissant cernent de plus près les modalités par lesquelles se confirment l’adéquation et la productivité des outils que la Poétique de la Relation apporte réellement au domaine des études littéraires. / At a time when a slackening in the theoretical literary production could be observed in France, Edouard Glissant’s Poetic of Relation can be seen as an innovative proposal that renews the conception of literature. It is the result of a thinking which implies a fundamental epistemological standpoint, since it is at the origin of a new type of discourse in the domain of literary theory. We shall call it the literary "theoretico-poetical" discourse, as it mirrors the importance taken by poetry in the author's work as a privileged means of reflexion on the literary. Though Glissant wants to avoid any system of thought, his theoretico-poetical discourse is organised to describe and explain literary phenomenon. This thesis brings up to date the interpretations and use of Glissantian concepts commonly accepted today and apply them to a corpus of authors from the Americas. The study of "Écue-Yamba-O" by Alejo Carpentier, the comparative analysis of "Hijo de hombre" by Augusto Roa Bastos and "Texaco" by Patrick Chamoiseau as well as a reading of "Sartorius. Le roman des Batoutos" by Edouard Glissant identifies more closely the processes confirming the consistency and the productivity of the tools that the Poetic of Relation really brings to literary studies.

Corpografias: incursão em pele imagem escrita pensamento abarca, sob certos aspectos e intensidades, a dinâmica de experimentação do pensamento num contexto acadêmico. Para tanto, realiza-se como diário e caderno, que cartografam a investigação empreendida, textual e plasticamente, expondo o constituir-se da pesquisa através de um corpo sensível. A forma de composição e apresentação do trabalho ressalta sua natureza híbrida, na qual estão imbricados texto dissertativo e experimentos poéticos (Diário de corpo do pensamento e Caderno Decurso). A partir dela, são discutidas as relações entre Arte, Ciência e Filosofia, inclusive a constituição disciplinar do saber. Embora não seja o tema central da pesquisa, tal reflexão a ela se impõe, imprimindo uma dimensão política neste fazer Ciência. A partir das ideias de Michel Foucault (1966) sobre as heterotopias e o corpo utópico, soma-se, às discussões sobre o corpo do pensamento, a noção de corpo heterotópico. Sendo este trabalho um dispositivo que expressa e carrega a questão de que um corpo poético é um corpo do pensamento, ele problematiza o toque e seus âmbitos de alcance, propondo ao leitor o mesmo modo de operar com o qual foi realizado. É preciso investigar ainda, tatear, compor um corpo no encontro, que toca e é tocado; que busca a relação e se faz nela. Desmonta-se, portanto, o jargão Que corpo é esse?, na medida em que é salientada a condição de invenção infinita do corpo do pensamento, que não cessa de transmutar. / Bodygraphies: an incursion into skin image writing thinking covers, in some aspects and intensities, the thinking process experimentation dynamics in an academic perspective. This research performs itself as a diary and a (note)book. Both of these, textually and plastically, make a cartography of this undertaken inquiry, turning the research doing process up through a sensible body. The composition and presentation forms of this work highlight his own hybrid nature, in witch the dissertation text and the poetics experimentations (Body of the Thought Diary and Course Book) overlap one another. From this very nature, the relation between Art, Science and Philosophy are discussed, including their own notion of knowledge. This last reflection, while not the head issue of this work, imposes itself, mainly cause of the politics dimension in doing science process. The Michel Foucault ideas of heterotopies and utopian body (1966) were taken for this work purposes, bringing the concept of heterotopic body. As this work is a device that manifests and carries the issue that the poetic body is a body of the thought, it argues the very touch and its extent, affording the reader just the same way to perform him/herself. It\'s still necessary to investigate, feel, draw up a body-in-rendezvous, that touches and is touched; seeks for relation and exists only in relation. Thus, the question \"What body is this?\" is disassembled, as infinite invention is a real condition for body of the thought, that doesn\'t stop transmuting itself.

De acordo com a teologia cristã, o Diabo caracteriza-se como paradigma definitivo e origem inconteste daquilo que se convencionou chamar de Mal na mundividência ocidental. Todavia, ao transpor as fronteiras dos textos religiosos em que se originou, o Diabo veio a se tornar, nos domínios da literatura, um símbolo recorrente e de indisputável significância, como atestam suas várias e multifacetadas manifestações literárias. Destarte, partindo de uma interpretação do Adversário enquanto símbolo literário de extensa tradição, o presente trabalho objetiva analisar a representação de Satã no conto A Hora do Diabo, de Fernando Pessoa. Tenciona-se, em substância, por meio de uma leitura analítico-comparativa do discurso de Satanás, deslindar a figura do Tentador enquanto sumo conhecedor de mistérios e iniciador que, ao longo da narrativa, sumariza e expõe ao leitor o pensamento esotérico de Fernando Pessoa para, a partir daí, estabelecer uma relação entre os desígnios do Diabo, o Oculto e o fazer poético / According to the Christian theology, the Devil is the utmost paradigm and unquestionable origin of what is commonly named Evil in the Western outlook. Howeveer, by crossing the borders of the religious texts in which it sprang, the Devil became, in the realms of literature, a recurring and indisputably significant symbol, as its various and manifold literary manifestations bear witness. Starting, thus, from an interpretation of the Adversary as a literary symbol of broad tradition, this paper aims at analyzing the representation of Satan in the short-story A Hora do Diabo, by Fernando Pessoa. By means of an analytical comparative study of Satans discourse, our purpose is, essentially, to unfold the figure of the Tempter as the supreme bearer of mysteries and the initiator who, along the narrative, synthesizes and exposes to the reader Fernando Pessoas esoteric thought in order to, from this point on, establish a relation among the Devils intent, the Occult and the poetic creation.

Este trabalho de tradução e sobre tradução de Don Juan de lorde Byron pode ser dividido em duas partes: a primeira cuida das especificidades de autor, sua vida, obra, fortuna crítica, assim como o tratamento do mito de Don Juan na obra byroniana, além de um estudo descritivo das traduções de Don Juan de lorde Byron publicadas no Brasil. A segunda, compõe-se de comentários à guisa de introdução à tradução de Don Juan, e da tradução dos Cantos I, II, III e IV para a língua portuguesa, feita em versos, na mesma estrutura estrófica do original, abalizada por uma pletora de notas a respeito do texto e dos vieses tradutórios. / This work of the translation and on the translation of Lord Byrons Don Juan can be divided into two parts: the first examines Byron\'s characteristics, life, work, literary criticism, as well as Byron\'s treatment of the myth of Don Juan, besides making a descriptive study of the translations of Don Juan of Lord Byron published in Brazil. The second part contains comments on the translation of Don Juan, the translations of Cantos I, II, III and IV, done in verse, in the same formal structure as the original, supplemented by a large number of notes on the text and background.

Com a leitura da obra de Mia Couto – exceção feita à dramaturgia e aos roteiros cinematográficos – estabelecemos múltiplos olhares sobre o seu fazer literário, considerando perspectivas temáticas, intertextualidades, enfrentamentos de problemáticas atuais. Também observamos os recursos vinculados ao imaginário, aos diálogos entre a História e a Ficção, acompanhando a criativa constituição dos seres que povoam seus textos de prosa e poesia. Evidenciamos a presença da água como fio condutor de narrativas, como símbolo e/ou metáfora de múltiplos sentidos e, igualmente, como complemento de outras temáticas. Assim, mostramos como a água constitui uma das matrizes da escrita miacoutiana e o fazemos identificando os elementos que estabelecem uma interconexão dessa matriz na poesia, no conto e no romance do autor. Essa interconexão aproxima-se de dois movimentos reiterados nos textos de Mia Couto: o mosaico e a travessia. Com a água, adentramos aos símbolos, aos mitos e aos questionamentos dos espaços e errâncias, e identificamos as estratégias do autor na representação literária desse universo temático. A fim de executarmos nossa proposta, recorremos ao suporte teórico de autores como Gaston Bachelard, Homi Bhabha, Mikhail Bakhtin, Gilles Deleuze, Mircea Eliade, Félix Guattari, Octavio Paz e outros, além de estudiosos da literatura africana. / With the reading of the work of Mia Couto – except the dramaturgy and the screenplays – we stablished multiple looks on his writings, considering thematic perspectives, intertextualities, confrontation of current problems. We also observed the resources connected to the imaginary, to dialogues between the History and the Fiction, following the creative constitution of the beings that inhabit his poetic and prose texts. We faced the presence of water as a thread of narratives, as a symbol and/or metaphor of multiple meanings, and also, and as the complement of other themes. This way, we show how the water constitutes one of the matrixes of Mia Couto’s writing and we do it identifying the elements that stablish an interconnection of this matrix in the poetry, in the short story and in the novels of the author. This interconnection approaches to two repeated movements in the texts of Mia Couto: the mosaic and the crossing. With the water, we entered in the symbols, in the myths and in the questionings of spaces and wanderings, and we identified the author’s strategies in the literary representation of this thematic universe. In order to implement our proposal, we used the theoretical support from the following authors: Gaston Bachelard, Homi Bhabha, Mikhail Bakhtin, Gilles Deleuze, Mircea Eliade, Félix Guattari, Octavio Paz, and others, besides scholars from the African literature.

Les questions sur l’existence de l’écriture en Afrique ont toujours intéressé les milieux intellectuels, entre ceux qui pensent que l’écriture sur le continent est un phénomène nouveau, issu de la colonisation et ceux qui le remettent en question. La présente thèse se propose d’analyser la présence de l’écriture dans la société traditionnelle fang et démontrer que toute société a cette volonté d’inscription du sens afin de perpétuer la mémoire collective (rites, croyances et organisation sociale). C’est à travers le masque que cette problématique sera étudiée : le masque comme ce qui permet de lire cette « pensée de l’écriture ». Le second temps de ce travail, abordera le masque dans la littérature, à ses différents niveaux d’appréhension (masque culturel et masque social) sans les considérer comme hétérogènes mais pour en souligner la complémentarité. Puis, voir également comment l’écriture littéraire s’approprie le fonctionnement du masque chez deux auteurs : Ludovic Obiang et Sami Tchak, par la dissimulation ou encore le voile. L’intérêt ici est de reconsidérer la place des motifs traditionnels dans la littérature africaine contemporaine, comme tentative de réponses aux problématiques actuelles. / Questions about the existence of writing in Africa have always interested intellectual circles, between those who think that writing on the continent is a new phenomenon resulting from colonization, and those who challenge it. The present thesis proposes to analyze the presence of the writing in the traditional Fang society, and to demonstrate that every society has that will of inscription of meaning in order to perpetuate the collective memory (rites, beliefs and social organization). It is through the mask that that problematic will be studied: the mask as the means of reading that "thought of writing". The second stage of this work, will deal with the mask in literature, through its different levels of apprehension (cultural mask and social mask) without considering them as heterogeneous, but to emphasize its complementarity. Then, this work will also highlight how the literary writing appropriates the functioning of the mask in two authors: Ludovic Obiang and Sami Tchak, through concealment or veil. The interest here is to reconsider the position of traditional symbols in contemporary African literature, as an attempt to answer to current questions.