Tradução e estudo do discurso \"Contra Timarco\", de Ésquines. O estudo se concentra na condição tríplice do texto, como discurso jurídico, retrato do comportamento sexual masculino da Atenas do Período Clássico e exemplo da recepção primitiva da obra homérica em uma situação distante do contexto dos festivais e simpósios. / Translation and study of the speech \"Against Timarchos\", by Aeschines. The analysis focus on the trifold condition of the text, as a juridical speech, a portrait of the male sexual behavior in Classic Athens and an example of early reception of Homer\'s poetry, in a condition that differs from festivals and symposiums.

Em nosso trabalho, analisamos duas epopéias coloniais do Brasil, a \"De Gestis Mendi de Saa\", de José de Anchieta, e \"Caramuru\", de Santa Rita Durão, buscando verificar suas semelhanças e diferenças no que tange a seu discurso religioso e a suas formas de representar o índio brasileiro. / In this dissertation I analysed two colonial brazilian epic poems, \"De Gestis Mendi de Saa\", by José de Anchieta, and \"Caramuru\", by Santa Rita Durão, searching to verify their similitudes and differences concerning their religious discurse and their ways of representing brazilian indians.

La thèse s’intéresse aux usages de l'épopée chez Rabelais et les histoires comiques du XVIIe siècle (Sorel, Furetière, Scarron, Tristan L’Hermite, d’Aubigné). Elle cherche à dépasser l’interprétation parodique, souvent mobilisée par la critique moderne, et à montrer comment ces auteurs semblent rivaliser avec les poètes héroïques de la même époque (Ronsard, Chapelain, etc.) en tentant de refonder le récit comique long. Tout d’abord, on tente d’évaluer la présence de l’épopée dans ces œuvres comiques par un relevé des références et des citations, et une redéfinition de l’héroïsme tel qu’il apparaît dans les récits. Dans un deuxième temps, on cherche à expliquer l’usage de ces références par les auteurs comiques, autrement que par le concept moderne et trop souvent plaqué de « parodie » : on s’intéresse donc aux usages sociologiques de l’épopée, qui sert à la satire politique, religieuse, mais aussi savante. Les historiens sont, par exemple, des cibles privilégiées, car ils se servent de l’épopée pour cautionner leurs projets d’historiographie nationaliste et mythologique. Ce travail doit enfin permettre de mesurer le rôle du genre épique dans le renouvellement de l’écriture comique, tel que l’a instauré Rabelais, et tel qu’il fut poursuivi par ses successeurs. Cette analyse permet de revenir sur la réception de Rabelais au XVIIe siècle, encore peu étudiée, autant que d’appréhender l’influence de ces longues histoires comiques en prose, dans les siècles suivants : romans d’aventures, romans de cape et d’épée – autant de genres qui ont bénéficié des innovations héroïques et vraisemblables de ces longs récits comiques d’une époque disparue. / This dissertation focuses on the various uses of epic in Rabelais’ Books and in the comic novels of the XVIIth century (d’Aubigné, Sorel, Tristan L’Hermite, Scarron, Furetière). It attempts to go beyond the parodic interpretation commonly adopted by modern criticism towards this corpus, and to underline how these authors compete with the epic poets of that time (Ronsard, Chapelain etc.), as they try to renew the comic narrative. The first part of the study assesses the presence of epic features in the works: using a list of references and quotes, it strives towards a redefinition of heroism, as the paradigm appears in the texts. It then delves into the reasons why the authors so often refer to epic: as an efficient tool for their satiric discourses. The dissertation focuses on the sociological uses of epic that target political, religious and intellectual groups that appropriate epic models for their own purposes. Historians appear as privileged targets because they use epic to validate their historiographic projects, often imbued with nationalist and mythological tendencies. Finally, the work gauges the role of epic in the renewal of comic writing, as established by Rabelais, and continued by his epigones. This analysis sheds light on Rabelais’ reception in the XVIIth century, a topic that has scarcely been studied yet, and offers explanations for the lasting influence of these long comic and prosaic stories in the following centuries: adventure novels, swashbucklers and historical novels are some of the genres that may have taken advantage of the realistic and heroic innovations brought forth by these comic stories of a bygone age.

Ce travail vise à porter un nouvel éclairage sur la Thébaïde de Stace en recourant au Traité du Sublime. Celui-Ci constitue un instrument herméneutique contemporain des littératures néronienne et flavienne, libéré des projections de la pensée esthétique moderne, à même de préciser l’univers de l’épopée. Notre étude s’attache d’abord à définir la notion de sublime, telle que la présente le Pseudo-Longin. Elle analyse ensuite l’importance de la passion dans le Traité du Sublime comme dans la Thébaïde et découvre les liens qui unissent les deux oeuvres : une même conception de la création poétique, audacieuse et transgressive, un même attrait pour les élans passionnels, la même recherche d’une réception sur le mode du choc, mettant en jeu des sentiments de terreur et d’admiration. Le sublime se manifeste dans le ravissement du poète, des personnages, dans les représentations spectaculaires de l’horreur ou d’une nature bouleversée. Le Traité du Sublime se révèle alors un outil intéressant pour appréhender les interférences génériques à l’oeuvre dans la Thébaïde. Il met en lumière un tragique de la passion, qui se déploie à travers le thème de la tyrannie, qui entre en tension avec l’épique et, par là, complexifie les personnages, remet en question l’héroïsme traditionnel. / This work aims at shedding new light on Statius’ Thebaid by having recourse to On the Sublime, which constitutes a contemporary hermeneutic instrument for Neronian and Flavian literature, freed from the projections of modern aesthetic thought. First of all, I try to define the notion of the sublime as it is presented by Longinus. Then I try to analyse the importance of passion in On the Sublime as in the Thebaid and to reveal the links between the two works : the same conception of an audacious poetic creation, the same attraction to outbursts of passion, the same desire to create a shockwave on reception by bringing into play feelings of terror and admiration. The sublime is to be found in the ecstasy of the poet and the characters and in the spectacular portrayal of horror or of disordered nature. On the Sublime is therefore an interesting tool to understand the generic interferences at work in the Thebaid. It highlights the tragic in passion, which is to be found in the theme of tyranny and which gives rise to tension within the epic thus rendering the characters more complex and bringing into question traditional heroism.

La thèse analyse, dans les domaines de la nature, de la médecine et de la guerre, en quoi les métaphores et les comparaisons relèvent de la communication politique et participent d’une ambition littéraire. Démosthène emploie ses images de manière très cohérente. Au sein d’un même discours, il articule des images différentes autour d’un même noyau sémantique. Il répète aussi une même image au service d’une même idée d’un discours à l’autre. Démosthène élabore ainsi de véritables slogans métaphoriques destinés à promouvoir ses idées politiques. Certains sont repris par ses amis politiques et combattus par ses adversaires. L’étude des images permet ainsi d’aborder sous une perspective nouvelle les problèmes de la propagande et de la collaboration politique dans l’Athènes du IVème siècle. Au-delà de cette finalité pratique, métaphores et comparaisons demeurent un matériau littéraire qui permet à Démosthène d’enrichir le style de ses discours en multipliant les registres. Elles s’inscrivent dans la tradition homérique ou comique par la reprise de certains motifs, selon que l’orateur souhaite célébrer son action politique ou dénigrer ses adversaires. Ou bien elles les font rivaliser avec les développements les plus récents de la prose d’art, telle que la pratiquent Platon et Isocrate. De ce point de vue, le Sur la couronne tient une place à part : en raison du caractère rétrospectif du discours, qui se livre à un bilan politique, l’ambition littéraire est à son sommet. Mais, là encore, elle n’est pas séparable de la finalité rhétorique et pratique : les images servent à défendre une politique, dans un véritable panégyrique. / This work examines how the imagery which Demosthenes takes from nature, medicine and warfare, is a tool of political propaganda and gives a literary shape to his speeches as well. Demosthenes uses this imagery very coherently. In the same speech, he links different kinds of imagery around the same meaning-core. Furthermore, he repeats the same imagery to mean the same thing in different speeches. Demosthenes thus works out true metaphorical slogans so as to promote his main political ideas. Some are taken up by his political friends and fought off by his enemies. Therefore, by studying imagery we can cast a new light on these two fundamental issues in the Ancient Athens of 4th century B.C. : how did the orators use to organise their political propaganda and how might they have collaborated with each other ? But imagery goes beyond this practical aim. Metaphors and similes are literary material which enables Demosthenes to enrich his speeches’ style through different registers. They give them a Homeric or a comical tone and shape, when Demosthenes uses some patterns again to extol his policies or to disparage his adversaries. With metaphors and similes, Demosthenes is also rivaling with the recent trends of Kunstprosa, as it is practised by Plato and Isocrates. From this point of view, the speech On the crown has a special place : in this speech, because of its retrospective point of view, which asseses his overall policies, Demosthenes brings his literary claims to a climax. Nevertheless, such an ambition cannot be separated from his rhetorical and practical aims : imagery is being used to defend his policies, in a real panegyric.

This project delineates a cultural history of modern Hinduism in conversation with contemporary Indian literature. Its central focus is literary adaptations of the Sanskrit epic the Mahābhārata, in English, Hindi, and Bengali. Among Hindu religious texts, this epic has been most persistently reproduced in literary and popular discourses because its scale matches the grandeur of the Indian national imagining. Further, many epic adaptations explicitly invite devotion to the nation, often emboldening conservative Hindu nationalism. This interdisciplinary project draws its methodology from literary theory, history, gender, and religious studies. Little scholarship has put Indian Anglophone literatures in conversation with other Indian literary traditions. To fill this gap, I chart a history of literary and cultural transactions between both India and Britain and among numerous vernacular, classical, and Anglophone traditions within India. Paying attention to gender, caste, and cultural hegemony, I demostrate how epic adaptations both narrate and contest the contours of the Indian nation.

This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world.

"La Christiade" de Jean d’Escorbiac, épopée calviniste divisée en cinq livres, n’a pas été rééditée depuis 1613, date de sa publication. Dans le prolongement de la poésie de Du Bartas et proche dans l’inspiration des "Tragiques" d’Agrippa d’Aubigné, le texte propose une réécriture des Évangiles en alexandrins, dans un style où se mêlent les références chrétiennes et profanes. Le travail de ma thèse a consisté a établir un appareil critique (préface, annotations, glossaire, index, index biblique, tableaux synthétiques) dans l’objectif de faciliter l’accès à un ouvrage ancien, parfois difficile d’approche. Par son caractère inédit, cette initiative offre la possibilité à un public élargi de découvrir un auteur qui, pour être méconnu, n’en reste pas moins très riche sur le plan littéraire. / "La Christiade" is an epic poem written by Jean d'Escorbiac, a calvinist from Montauban in the beginning of the 17th century. Inspired by Du Bartas and close from Agrippa d'Aubigné in his "Tragiques", the poem is a biblical rewriting in alexandrines verses which combines christian and pagan references. As the text has never been republished since 1913, we have worked to establish a critical apparatus (annotations, introduction, glossary, index...) in order to make the reading easier for contemporaries. This critical edition of "La Christiade" invites us to update a poem which deserves to be known on many points.

Orientador: Paulo Sergio de Vasconcellos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T16:17:45Z (GMT). No. of bitstreams: 1 Piccolo_AlexandrePrudente_D.pdf: 2779565 bytes, checksum: 0f3f5e04731996d36193d0822473c58d (MD5) Previous issue date: 2015 / Resumo: A partir das Odes de Horácio, esta tese investiga a presença de elementos épicos, sobretudo homéricos, e como o poeta latino os ajusta em sua obra lírica ¿ processo mais bem definido como "modulação." Antes de tratar de algumas odes específicas, um breve panorama pelos textos horacianos destaca diversas alusões às epopeias de Homero. Então, teorias intertextuais ajudam a analisar tanto poemas que aparentemente rejeitam a épica ou outros padrões elevados (como os Carmina 4.15, 4.2, 2.1, 2.12, 1.6 e 3.3), quanto aqueles que incorporam, de modo patente ou latente, diferentes passagens, versos, fórmulas e palavras das epopeias de Homero. Essas odes são agrupadas em três grandes conjuntos: o conflito entre amor e guerra (C 1.15, 1.17, 2.4, 3.7 e 3.20); a passagem pelos infernos (C 2.13 e 2.14); a poesia da memória e da eternidade, disfarçada em poemas laudatórios (C 4.6, 4.8 e 4.9). Como um anexo final, uma tabela apresenta mais de quinhentas referências nas Odes à Ilíada e à Odisseia de Homero, coletadas ao longo da pesquisa / Abstract: Starting from Horace¿s Odes, this dissertation investigates the presence of epic features, mainly Homeric ones, and how the Latin poet adjusts them to his lyric work ¿ a process better defined as `modulation.¿ Before dealing with a selection of odes, a quick survey of Horace¿s texts highlights several allusions to Homer¿s epics. Then, theories of intertextuality help to analyse both poems that apparently refuse an epic or elevated standard (like Carmina 4.15, 4.2, 2.1, 2.12, 1.6, and 3.3), and those that frankly or evasively incorporate different passages, lines, formulas or words from Homer. These odes are divided into three main groups: the conflict of love and war (such as C 1.15, 1.17, 2.4, 3.7, and 3.20); the passage through the underworld (C 2.13 and 2.14); the poetry of memory and eternity, disguised as laudatory poems (C 4.6, 4.8, and 4.9). As a final appendix, a table presents more than five hundred references in the Odes to Homer¿s Iliad and Odyssey, gathered throughout the research / Doutorado / Linguistica / Doutor em Linguística

Orientador: Flávio Ribeiro de Oliveira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T17:51:26Z (GMT). No. of bitstreams: 1 Waki_Fabio_M.pdf: 1681620 bytes, checksum: bb4e8d870c882bd426e166f15d5cd3f6 (MD5) Previous issue date: 2015 / Resumo: Esta dissertação apresenta uma leitura do poema anglo-saxão Beowulf a partir de leituras dos poemas homéricos. O objetivo é iniciar uma discussão sobre a natureza do paradigma heroico anglo-saxão confiando em parâmetros normalmente utilizados para discutir a natureza do paradigma heroico grego. Sendo a primeira literatura inglesa em geral menos conhecida ao público brasileiro, essa abordagem cruzada busca esclarecer os principais aspectos dessa literatura valendo-se de características análogas encontradas na mais conhecida literatura grega. Embora o estabelecimento de uma diacronia poética conclusiva entre as tradições grega e anglo-saxã seja impossível por causa da insuficiência de paralelos verbais entre o Beowulf e os poemas homéricos, o método comparativo se mostrou eficiente ao destacar que os protagonistas dos três poemas podem ser qualificados segundo parâmetros neutros comuns que não descrevem uma transformação diacrônico-poética, mas sim uma transformação histórico-social. Esse método evidentemente é sincrônico e a descoberta de que o Beowulf, devido a sua forma, é melhor analisado por meio de um método sincrônico é talvez a maior conquista desta pesquisa. Tanto esse poema quanto os poemas homéricos são oriundos da literatura oral, mas, enquanto esses buscam articular de maneira orgânica diversos mitos de uma tradição longeva e dedicada ao culto heroico, aquele busca glosar os principais mitos da tradição germânica do tempo em que foi composto, um tempo em que essa tradição já era dominada pelo cristianismo. Este estudo é essencialmente em teoria literária, mas confia grande parte de seus argumentos em uma metodologia que pertence igualmente à literatura e à linguística: trata-se do close reading, procedimento de análise textual preferido pelos helenistas contemporâneos, sobretudo os do meio anglófono. Adotando tal metodologia, esta dissertação busca chamar atenção para o pensamento desses helenistas e divulgar a literatura anglo-saxã de maneira didática, bem como aproveita para exercitar técnicas de hermenêutica filológica e literária que são as mais atualizadas dentro dos estudos clássicos e amplamente úteis aos estudos literários em geral / Abstract: This dissertation presents a reading of the Anglo-Saxon poem Beowulf based on readings of the Homeric poems. The objective is to initiate a discussion about the nature of the Anglo-Saxon heroic paradigm relying on parameters normally used to discuss the nature of the Greek heroic paradigm. Because the first English literature is in general less known to the Brazilian public, this crossed approach tries to enlighten the main aspects of this literature by making use of analogous characteristics found in the better known Greek literature. Although establishing a conclusive poetic diachrony between the Greek and the Anglo-Saxon is impossible due to insufficient verbal parallels between Beowulf and the Homeric poems, the comparative method was found efficient for evincing that the protagonists of the three poems can be qualified following neuter and common parameters that do not describe a diachronic-poetic transformation, but rather an historic-social one. This method is, evidently, synchronic and the discovery that the Beowulf, due to its form, is better analysed by means of a synchronic method is perhaps this research¿s greatest achievement. This poem and the Homeric poems are products of oral literature, but, while the latter try to organically articulate many myths of a long-lived tradition dedicated to hero cult, the former tries to gloss the most important myths of the Germanic tradition by the time it was composed, a tradition already overwhelmed by Christianity. This study is essentially one in literary theory, but a great part of its arguments relies on a methodology that is as literary as it is linguistic: close reading, the procedure of textual analysis preferred by contemporary Hellenists, especially those from the Anglophone academic milieu. By adopting such a methodology, this dissertation calls attention to these Hellenists¿ thoughts and discloses the Anglo-Saxon literature in didactic fashion. It also takes this opportunity to exercise techniques of literary and philological hermeneutics that are state of the art in Classics and widely useful for literary studies in general / Mestrado / Linguistica / Mestre em Linguística