Este trabalho irá propor novas possibilidades de leitura para o poema épico Vila Rica, do poeta mineiro Cláudio Manoel da Costa (1729-1789). Escrito em 1773, não chegou a vir à público durante a vida do autor que, desiludido com a pouca repercussão de suas obras na metrópole portuguesa, não o teria considerado digno de publicação, o que viria a ocorrer somente postumamente em 1839. Ocorre, porém, que Vila Rica é um documento de grande importância para a história do país, visto que faz a representação muito atenta da fundação da capital das Minas, cidade que aí significa a própria pátria. Seu poema épico é, antes de tudo, um dos poucos textos escritos em tempos coloniais que evidenciam perspectivas de análise da formação social, política e econômica da capitania de Minas. Ademais, as edições do Vila Rica são relativamente raras e pouco ensejaram leituras de caráter historiográfico que visassem compreender a obra como documento histórico. Faz-se imprescindível, portanto, à historiografia dos textos coloniais, definir novas possibilidades de leitura deste texto épico, contribuindo para enriquecer a historiografia colonial. Para isso devemos percorrer em análise as partes essenciais que compõem o Vila Rica, desde a Carta Dedicatória e o poema propriamente dito, passando pelo estudo histórico que o fundamenta, bastante revelador das qualidades literárias de Cláudio como historiador, o Fundamento Histórico. Resultado do empenho do poeta em vasculhar documentos e colher relatos sobre Minas, o Fundamento Histórico demonstra a nítida preocupação de fornecer autoridade à história que narra por meio da análise crítica e da escolha criteriosa das fontes. Sendo assim, a escrita da história contida no Fundamento e a utilizada no poema possuem características distintas, que respondem a pretensões específicas, que deveremos analisar. Pensar a maneira como se utiliza a História nestes dois níveis discursivos é tarefa imprescindível para iniciar qualquer consideração acerca do valor historiográfico do poema. E será este o motivo condutor do trabalho. Mostraremos enfim os critérios utilizados pela crítica já feita sobre o poeta e sua obra, que sempre tendeu à sua desvalorização do poema, para mostrar em seguida uma nova possibilidade de análise, comprometida em esboçar o valor historiográfico do poema a partir de sua própria constituição como discurso de gênero histórico. Assim percorreremos duas vias de análise. Em primeiro lugar procuraremos entender o poema como produto de sua época, definindo seus principais níveis de existência, desde a criação, passando pela circulação e leitura do mesmo. Desta análise passaremos a outra, comprometida com o entendimento dos pressupostos aplicados ao épico que o puderam definir como escrito de gênero histórico, reavaliando assim a obra. Discutiremos também a consciência, sempre presente na obra de Cláudio Manuel da Costa, de pertencer a uma nova terra, o que levou à afirmação do seu sentimento nacionalista e da motivação para a Inconfidência feita pelos críticos românticos. Veremos enfim as bases que conduzem este suposto patriotismo, a partir de uma análise dos preceitos poéticos utilizados pelo autor, tendo assim por tarefa perceber até que ponto este patriotismo deve ser entendido como expressão psicológica e individual de uma paixão pela pátria ou como mera aplicação de uma tópica de composição. / This work offers a new approach to the epic poem Vila Rica, by Minas Geraisborn poet Cláudio Manoel da Costa (1729-1789). Written in 1773, it was not published during the life of the author who, disenchanted with the poor repercussion of his works in the Portuguese metropolis, did not consider it worth of publication, which would only occur posthumously in 1839. Nevertheless, Vila Rica is a very important document for the history of the country, since it offers a rather accurate representation of the foundation of the Minas capital, a city that in this context means the country itself. His epic poem is, above all, one of the few documents written in colonial times that focus on the analysis of the social, political and economical formation of the captaincy of Minas. Furthermore, the editions of Vila Rica are relatively rare and little instigate historiographic studies that aim at perceiving the work as a historical document. It is imperative then, to the historiography of the colonial texts, to define new reading approaches to this epic text, contributing to enrich the colonial historiography. For that we must analyze the essential parts that make up Vila Rica, from Carta Dedicatória (Dedicatory Letter) and the poem itself, through the historic study that substantiates it, very revealing of Cláudio\'s literary talent as a historian, Fundamento Histórico (Historic Foundation). A result from the poet\'s application to search through documents and gather accounts on Minas, Fundamento Histórico clearly evinces the concern to provide authority to the story it narrates through critical analysis and a discerning choice of sources. That way, the history account in Fundamento and the one utilized in the poem have distinct characteristics, which aim at specific objectives, which we will analyze. To study the way he utilizes History in these two discursive levels is an indispensable task to approach any consideration as to the poem\'s historiographical value. And this will be the main motive of the work. We will show the criteria used by the critics on the poet and his work, which always tended to the depreciation of the poem, to later demonstrate a new possible analysis, one committed to sketch the poem\'s historiographic value from its own constitution as a historical discourse. We will therefore cover two lines of analysis. First we will try to understand the poem as a product of its own time, defining its main levels of existence, from its creation through its circulation and reading. From that we will proceed to the next one, committed to understanding the plans applied to the epic that could define it as a historical text, thus revaluating the work. We will also discuss the conscience, always present in Cláudio Manuel da Costa\'s work, that he belonged to a new land, which led to the affirmation of his nationalist feelings and the motivation for the Inconfidência (Disloyalty) made by the romantic critics. Finally, we will see the bases that direct this presumed patriotism, from an analysis of the poetic principles utilized by the author, aiming at perceiving how much this patriotism should be understood as a psychological and individual expression of a passion for his country or as a mere application of an argument for composition.

Based on Hobsbawm’s notion of “invented traditions,” this thesis argues that the Serbian warrior tradition, the hajduk, was formalised from the folk oral epic tradition into official state practices. Using reports from the Balkan Wars of 1912-1913, military histories of Yugoslavia’s Second World War, and case files from the International Criminal Tribunal for the Former Yugoslavia (ICTY), this thesis shows how the hajduk epics were used to articulate war programs and formations, to construct perpetrator and victim identities, and to help encourage and justify the levels of violence during the Yugoslav wars of succession, 1991-1995. The thesis shows how the formalising of the invented hajduk tradition made the epics an important part of political and military mobilisation for at least the last two centuries. During Serbia’s modernisation campaign in the nineteenth century, the epic hajduk traditions were codified by Serbian intellectuals and fashioned into national stories of heroism. While cleansing territories of undesirable populations during the Balkan Wars of 1912-1913, the hajduks were portrayed in the tradition of nation builders by the Kingdom of Serbia. The hajduk tradition was also mobilised as Nazi Germany invaded Yugoslavia in 1941, with both Draža Mihailović’s Četniks and Tito’s Partisans appropriating the historic guerrilla tradition. During the “re-traditionalisation” period under Slobodan Milošević in the 1980s, the invented hajduk tradition was again mobilised in the service of war. As Bosnian Muslim bodies were flung from the Mehmed Sokolović Bridge in Višegrad in 1992, the Serbian perpetrators dreamed of themselves as avenging hajduks thus justifying a modern ethnic cleansing. / Graduate

Ce travail décrit les différentes formes que prennent les emprunts à l'épopée dans les comédies d'Aristophane afin de définir le rapport construit par la comédie entre les deux genres littéraires, entre dérision comique et hommage littéraire, ruptures et continuités idéologiques, filiations et innovations poétiques. / This study tries to describe the various forms of Aristophanic borrowing to epic poetry, in order to define the relationship between the two genres: mockery or homage to the poet, ideological break or continuity, poetic filiation or innovation?

Cette thèse vise à préciser l’importance et le relief singulier que Valérius Flaccus donne aux figures du pouvoir monarchique dans les Argonautiques. Elle sollicite la vaste tradition littéraire antique portant sur les figures du bon roi et du tyran, ainsi que les représentations du pouvoir véhiculées par l’idéologie impériale, afin de déterminer quel regard spécifique ce poète porte sur une problématique universelle et quels procédés il met en œuvre pour rendre cette représentation originale et efficace. Ce travail, qui écarte tout parti pris référentiel,s’articule autour d’une étude des personnages.Le poète analyse les mécanismes de fonctionnement de la tyrannie. Il en souligne le caractère oppressant en faisant des tyrans les pivots de la narration épique et en théâtralisant fortement leurs apparitions, susceptibles de frapper le lecteur. Aux tyrans s’opposent de nombreux rois exerçant un pouvoir positif. Le poète grandit ces figures en les valorisant sur le plan éthique mais montre aussi de façon répétée leur chute ainsi que la stérilité de leur pouvoir afin de susciter la compassion du lecteur. L’élaboration du personnage de Jason se fait sur le même modèle que celle des bons rois. La mise en valeur des qualités du chef ne rend que plus saisissante sa déchéance future, sans cesse annoncée. L’inquiétude et le pessimisme se dégagent donc de cette représentation du pouvoir royal, conçu sous sa forme pervertie, la tyrannie, ou associé à la décadence.Cette thèse permet d’ajouter une contribution à l’histoire des représentations et de prendre la mesure des évolutions du genre épique, qui fait alors une place importante à la tragédie et aux effets pathétiques. / This thesis aims to specify the importance and the unique depth Valerius Flaccus gives to the figures of monarchic power in the Argonautica. It calls on the vast antique literary tradition which deals with the figures of the good king and the tyrant, as well as the representations of power carried by the imperial ideology, in order to determine what specific look this poet takes on an universal issue and what literary devices he uses to make this representation original and efficient. This work that rejects every referential bias is based on a study of the characters. The poet analyses how tyranny works. He underlines its oppressive nature by making tyrants the pivots of epic narration and by strongly dramatizing their appearances, which is likely to strike the reader. Numerous kingsembodying a positive power contrast with tyrants. The poet enhances these figures valuing them from an ethic point of view. But he also repeatedly shows their falls as well as the sterility of their power in order to arouse thereader’s sympathy. To elaborate the character of Jason he proceeds in the same way as for the good kings.Emphasizing the qualities of the leader makes his constantly announced future decline all the more striking andmoving. Anxiety and pessimism prevail in the representation of royal power, which is seen in its corrupted form,tyranny, or associated to decline.This thesis contributes to the history of representations and makes it possible to assess the evolutions of the epicgenre, which then affords an important place to tragedy and pathetic effects.

Cette étude développe l’analyse de stratégies d’appropriation et d’administration religieuse du territoire dans le sixième livre de l’Énéide selon une perspective géoreligieuse. Avec le nom de géoreligion, nous définissons un paradigme interprétatif qui étudie l’impact des éléments religieux de façon simultanée sur le paysage interne au récit (a), sur le contexte extratextuel (b) ainsi que sur le terrain de la compétition poétique (c). D’abord nous examinons comment les éléments religieux influencent l’organisation du territoire italique et celui de l’au-delà (a). Dans ce cadre, nous avons réalisé que les éléments religieux ont la fonction d’actualiser l’espace épique : il est alors légitime de se demander dans quelle mesure ils influencent la perception que le lecteur a du contexte extratextuel (b). Enfin, cette double re-territorialisation religieuse, qui investit le paysage épique de même que l’horizon d’attente du lecteur/auditeur, implique systématiquement une réélaboration du bagage de la tradition littéraire antérieure (c). En conclusion, notre travail propose de lire une série d’éléments religieux choisis du sixième livre de l’Énéide (les rites funéraires, le complexe sanctorial de Cumes, les discours d’Anchise et de la Sibylle) comme des points nodaux qui structurent le territoire épique (a), qui influencent la perception du lecteur/auditeur (b) et qui constituent l’occasion concrète pour la réélaboration virgilienne de traditions littéraires hétérogènes (c). / This dissertation looks at the strategies of religious appropriation and organisation of the fictional territory in Book Six of the Aeneid from a geo-religious perspective. I use the term ‘georeligion’ to refer to an interpretive paradigm that studies the impact of religious elements on the fictional territory of epic (a), on the extratextual context (b) and on the field of poetic competition (c). First, I examine how religious elements inform the Book’s Italic and catabatic landscapes. In this context I conclude that the religious elements serve to contemporize the fictional landscape and, as a consequence, influence the reader/listener’s horizon of expectation. I then attempt to identify the poetic and meta-poetic strategies that underlie such acts of religious ‘re-territorialisation’. In conclusion, I suggest reading certain religious elements from Book Six (the funerary rites, the sacral site of Cumae and the speeches of Anchises and the Sibyl) as nodal points that (a) give structure to the epic territory, (b) influence the perception ofthe reader/listener, and (c) act as a platform for the reworking of the earlier literary tradition.

Often praised for its sophistication in the narrator- and character-text, the Odyssey is regarded as the ultimate epic of a warrior’s much-troubled nostos. As a corollary of both its theme and the polytropia of the main hero, the poem explores extensively the motifs of secrecy and disguise. Apart from the lying tales of Odysseus, one important, albeit less obvious, example of the tendency to secrecy and disguise is the exchanges between the gods, which constitute a distinct group of speeches that have significant implications for the action of the poem. The aim of this dissertation is to study the divine dialogues of the Odyssey from the angle of communication and persuasion. Employing findings from narratology, discourse analysis, and oral poetics, and through close readings of the Homeric text, I argue that the overwhelming majority of these related passages have certain characteristics, whose common denominator is obliqueness. Apart from Helius’ appeal to Zeus (Chapter 2), distinctive in its own narratorial rendition, the rest of the dialogues, namely Hermes’ message-delivery to Calypso (Prologue), the two divine assemblies (Chapter 1), plus the exchanges of Zeus with Poseidon (Chapter 2) and Athena (Epilogue) conform to set patterns of communication. Within this framework, interlocutors strongly tend towards concealment and partiality. They make extensive use of conversational implicatures, shed light only on certain sides of the story while suppressing others, and present feigned or even exaggerated arguments in order to persuade their addressee. Direct confrontation is in principle avoided, and even when it does occur, it takes a rather oblique form. In this communicative scheme, the procedure of decision-making is not clear-cut, and the concept of persuasion is fluid and hidden behind the indirect and subtle dialogic process.

IVETA PASTYŘÍKOVÁ: ORDER, PROGRESS, AND IDEAL GOVERNMENT IN CLAUDIAN'S EPIC DE RAPTU PROSERPINAE ABSTRACT The aim of the diploma thesis is to show how late Ancient poet Claudius Claudianus deals with the problem of ideal government in the mythological epic De Raptu Proserpinae, by which strategies he exhorts his reader to evaluate Jupiter's rule in the world of the poem and to compare it with the situation in the real world. The chosen method is the theory of fictional worlds. Firstly, the thesis outlines the relation between the fictional world of the epic and the real world, then, the attention is paid to the essential question of this fictional world, ideal government. The thesis presents the prefaces of the epic as entrances into the fictional world foreshadowing topics elaborated in the world of the poem, where the ruler Jupiter has a difficult task ahead of him: to harmonize progress with protection against chaos. The last chapter summarizes the author's strategies and compares the epic with Claudian's other poems.

L’art du naqqâli en Iran est basé sur une longue tradition de récits épiques portant sur des héros de la légende nationale iranienne. La principale source de ces épopées, Le Livre des rois de Ferdowsi, est un œuvre fondamentale de la culture nationale. Les conteurs professionnels «naqqâl» récitent, en les adaptant, les passages du Livre des rois pendant des heures à l’assistance dans certaines maisons de thé, plus connues sous l'appellation de cafés traditionnels. La représentation du naqqâli qui dure approximativement une heure et demi comporte trois parties d’environ une demi-heure chacune. Une session habituelle commence par une introduction poétique suivie d’une entrée en matière pour introduire l’histoire et s’achève par l’histoire proprement dite. Le début et la fin de chaque partie sont marqués par une combinaison de salavât (prière récitée en chœur) et de récitations de poèmes classiques qui ne sont pas nécessairement liés à l’histoire elle-même, mais servent en général à retenir l’attention du public pendant la représentation. Les qualités de la récitation du naqqâl reposent sur un ensemble de méthodes complémentaires permettant de donner plus de relief au spectacle : les méthodes oratoires, gestuelles et l’approche musicale. Les naqqâl utilisent les rouleaux de parchemin appelés tumâr pour préparer la représentation et s’aider pendant la récitation tout en prenant des libertés par rapport au texte dans le but de retenir l’attention de leur auditoire. Les caractéristiques formelles spécifiques de ce genre de représentation qui se rapporte à ses contraintes minimales sont : la durée fixe d’une représentation et son découpage sérialisé, l’influence plus ou moins directe de la structure du tumâr et en particulier sa division en trois niveaux d’unités structurelles : le chapitre, la partie et l’épisode. / The art of naqqâli in Iran is based on a long tradition of epics involving heroes of the Iranian National legend. The main source of these epics, Ferdowsi’s Book of the Kings, is a cornerstone of the national culture. Over long hours, professional naqqâl recite passages from the Book of the Kings to the audience in tea-houses, known as traditional cafes. The naqqâli performance lasts about one and half hours and up to three parts for about half an hour each. A session usually begins with an introduction followed by a poetic prelude to outline the story and ends with the story itself. The beginning and end of each part are salavât (prayer recited in unison) and recitations of classic poems which are not necessarily related to the history itself, but in general serve the purpose of gaining the public attention during the performance. The quality of the naqqâl’s recitation based on a set of methods to give a larger dimension to the show such as: oratory techniques, gesture and musical approach. Naqqâl use parchment scroll called tumâr prepared for the performance which help with the recitation while taking liberties with respect to the text in order to attract the attention of their audience. The formal features of this type of performance which refer to its minimal constraints are : the fixed duration of performance and its serial form, the more or less direct influence of the structure of the tumâr, particularly its division into 3 levels of structural units : chapter, instalment and episode.

Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seen. / Abstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse.

En 1957, l’État est l’organisateur du service public postal en France à travers son administration centrale. Cette même année est signé un traité à Rome entre six États européens autour de l’idée de marché commun avec délégation de souveraineté.Le service public postal et l’Europe du traité de Rome vont, tout d’abord, évoluer parallèlement. Mais, au début des années 1980, le contexte politique, économique et technologique change et l’Europe se saisit de la question postale ; d’une phase d’ignorance, on entre alors dans une phase de confrontation : l’Europe soumet le service postal au droit commun de la concurrence et remet en cause le monopole, organisation traditionnelle du service postal. Par ailleurs, le service public postal organique est transformé : La Poste, exploitant public doté de la personnalité juridique est née. Progressivement, la logique de confrontation laisse place à une phase de concertation entre l’Europe du traité de Rome et les États membres qui donne naissance à plusieurs directives. Ces dernières placent en leur cœur le service universel postal. En 2012, la libéralisation du service postal devient totale : il n’existe plus de monopole légal.Cette ouverture du marché est concomitante avec la révolution numérique. Ainsi, dans ce contexte de bouleversements idéologiques, technologiques et économiques, le service public postal connaît des évolutions significatives tant dans sa forme – La Poste devient une société anonyme – que dans sa mission : pour répondre aux nouveaux besoins d’intérêt général, raison d’être du service public, le service public postal est reconfiguré. / In 1957, the State is the organiser of the public postal service in France through its central administration. That same year, a treaty was signed in Rome between six European States around the idea of a common market with a delegation of sovereignty. At first, the public postal service and the Europe of the Treaty of Rome develop separately. But in the early 1980s, the political, economic and technological context evolves and Europe decides to take an active interest in the matter of the postal service. After a phase of disinterest in postal matters, we enter in a phase of confrontation; Europe submits the postal service to the competition law: monopoly, the traditional organisation of the postal service, is challenged. Moreover, the French public postal service is transformed: La Poste, independent public operator is born. Following the period of confrontation, a period of dialogue follows, bringing together the Europe of the Treaty of Rome and the States members to write the postal law. Several guidelines are adopted, focused in particular on the universal postal service. By 2012, the process of liberalisation of the postal service is complete: there is no legal monopoly in Europe. This new openness is concomitant with the digital era. The postal service must now continue to adapt to this new ideological, technological and economical context: in its form – La Poste becomes a public limited company – as well as in its mission to serve the public interest, the raison d’être of the public service, so the public postal service is reconfigured.