Cette thèse a pour objet l'adaptation théâtrale du roman 'Tirano Banderas' (1926) de l'écrivain espagnol Ramón María del Valle-Inclán. À cette fin, une recherche sur la dramaturgie centrée sur le processus de transduction a été réalisée, concrètement sur l'interprétation et sur la transformation du texte original de Valle-Inclán, qui a donné lieu à un relevé mise en scène, comprenant le script et les principaux éléments de la représentation de la pièce "Tirano Banderas". En annexe sont joints le DC de la musique, les esquisses du décor et du maquillage, les partitions ainsi qu'un document audiovisuel de plusieurs scènes pilotes. / The goal of this thesis is a stage adaptation of the novel 'Tirano Banderas' (1926) by Spanish writer Ramón María del Valle-Inclán. Dramaturgical research into the process of transduction, that is, the interpretation and transformation of the original text by Valle-Inclán, has led to the creation of a director's notebook, a document that unites the objectives of the "Tirano Banderas" performance, focusing on the primary elements of the representation. Sketches of the set, makeup, a CD with music, the musical score, and an audiovisual document of varios pilot scenes have been added to the Appendix. / El objeto de esta tesis es la adaptación escénica de la novela 'Tirano Banderas' (1926) del escritor español Ramón María del Valle-Inclán. Con ese fin se ha llevado a cabo una investigación dramatúrgica focalizada en el proceso de transducción, es decir, de interpretación y de transformación del texto original de Valle, que ha desembocado en un cuaderno de dirección, documento que recoge la propuesta de espectáculo "Tirano Banderas", centrándose en los elementos principales de la representación. En anexo se adjuntan los bocetos del decorado, del maquillaje, un CD-audio con la música, las partituras y un documento audiovisual de varias escenas piloto.

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique. / This research work is based on the study of the play Adiós, Robinson (Goodbye, Robinson), a radio script written by Julio Cortázar in 1977, published in 1984, reedited in 1995 -after the death of the author-, and broadcast in every continent in the late 1970s. The analysis of this piece was carried out taking into consideration two different but complementary perspectives: one more formal or technical and the other ideological. Thus, on the one hand, radio drama is examined as a type of discourse that uses a specific language -radiophonic language-, and constitutes “a theatrical presentation written for radio", based on the works of Rudolf Arnheim, Armand Balsebre and Etienne Fuzellier. On the other hand, the text contextualized by referring to the troubled situation in Latin America in the 1970s, and relating the topic of "decolonization" to that of liberation. Before addressing the subject of radio drama -including its origins in Argentina, the first pieces for radio, and the characteristics of its format- and taking the author Jesús Martín-Barbero as a source of reference, a brief history of melodrama is presented. This genre, characterized by strong emotional content, is very much present in Latin America, particularly in radio drama and soap operas. After describing Cortázar’s writing style, the script is analyzed from a viewpoint that focuses mainly on the categories of space and time, which are especially of interest when studying a piece of radio drama. Finally, this study pretends to demonstrate that Julio Cortázar did not write Adiós, Robinson as a mere piece of radio entertainment. On the contrary, the author, aware of the power exercised by this type of media, uses it to reach a wider audience and present it with an anti-colonial fable.

Cette thèse a pour objet l'adaptation théâtrale du roman 'Tirano Banderas' (1926) de l'écrivain espagnol Ramón María del Valle-Inclán. À cette fin, une recherche sur la dramaturgie centrée sur le processus de transduction a été réalisée, concrètement sur l'interprétation et sur la transformation du texte original de Valle-Inclán, qui a donné lieu à un relevé mise en scène, comprenant le script et les principaux éléments de la représentation de la pièce "Tirano Banderas". En annexe sont joints le DC de la musique, les esquisses du décor et du maquillage, les partitions ainsi qu'un document audiovisuel de plusieurs scènes pilotes. / The goal of this thesis is a stage adaptation of the novel 'Tirano Banderas' (1926) by Spanish writer Ramón María del Valle-Inclán. Dramaturgical research into the process of transduction, that is, the interpretation and transformation of the original text by Valle-Inclán, has led to the creation of a director's notebook, a document that unites the objectives of the "Tirano Banderas" performance, focusing on the primary elements of the representation. Sketches of the set, makeup, a CD with music, the musical score, and an audiovisual document of varios pilot scenes have been added to the Appendix. / El objeto de esta tesis es la adaptación escénica de la novela 'Tirano Banderas' (1926) del escritor español Ramón María del Valle-Inclán. Con ese fin se ha llevado a cabo una investigación dramatúrgica focalizada en el proceso de transducción, es decir, de interpretación y de transformación del texto original de Valle, que ha desembocado en un cuaderno de dirección, documento que recoge la propuesta de espectáculo "Tirano Banderas", centrándose en los elementos principales de la representación. En anexo se adjuntan los bocetos del decorado, del maquillaje, un CD-audio con la música, las partituras y un documento audiovisual de varias escenas piloto.

L’analyse des systèmes naturels globaux est divisée selon les organismes régionaux, nationaux et internationaux. Leurs travaux sont encadrés par une gestion scientifique et juridique notamment par des directives tel que la DCE ou INSPIRE, basée sur la communication. La comparaison des données d’origines différentes et sans prise en compte des frontières n’est possible qu’à l’aide d’une harmonisation fondée sur les normes internationales. La carte est à ce titre un outil de transmission de l’information organisée à partir des bases de données.Cette thèse propose une analyse sémiologique de la représentation cartographique qui traite de la thématique de la gestion de l’eau dans un cadre européen. Il s’agit de comprendre et d’interpréter la mise en oeuvre des processus de communication basés sur les cartes ; la Hongrie et la France sont prises comme exemple.L’harmonisation est nécessaire mais en même temps très difficile à mettre en place au sein d’un monde où les disparités sont très grandes. Les compromis nécessaires à l'harmonisation et à l'uniformisation du langage cartographique impliquent des concessions de la part des acteurs mais aussi des producteurs de cartes.L’importance des innovations dans la visualisation cartographique aboutissant à une meilleure communication n’est pas encore reconnue à l’heure actuelle. Le public, quel qu’il soit, est souvent habitué à une représentation traditionnelle ; pourtant les effets que l’on peut ajouter à une carte, fruits de l’innovation technologique, ouvrent de nouveaux horizons pour la cartographie et peuvent servir de nouvelles bases au raisonnement dans la prise de décisions. / Water, which is one of our most important natural resources, stops at neither political nor artificial boundaries. This is why it is necessary to treat it globally instead of the present situation, where water is managed nationally and regionally. A possible solution for this is an international unified water management system, and effective information is a key requirement for this to happen. Maps contain visual information which is independent of language, and map visualization is an important tool of communication. Therefore I have been comparing two European Union countries (France and Hungary) to understand the processes of map communication in relation to EU regulations. The first objective of my research has been the examination of how far the harmonization of map communication has been achieved in the European directives, particularly concerning water-related directives. Secondly, to the extent that harmonization has not occurred, I have investigated into the reasons why this has happened and whether there are any solutions to this issue. Effectiveness of map-based communication is closely related to uniform data systematization. This is why I have endeavored to discover and develop a harmonizationhelping system for visualization. Finally, I have examined whether, in this legally-regulated research environment, there is the possibility of innovative rather than traditional map representations. As results I gave an overview of the European directives and projects, and I examined the relations between them. At the same time I determined the role of the cartographer concerning the directives. I created an examining system based on the rules of the French and Hungarian thematic cartography. I made certain that the directives are necessary but not sufficient conditions of harmonized map communication. The necessary condition of this is a uniform and harmonized system of thematic data. I verified that the maps created by existing processes do not meet the claims of the three different user circles aimed at by the WFD. I created my own communicative model for maps associated with water after studying Robinson-Petchenik-and Kolácný’s communicative models. I took into consideration every element of map-forming, which may have an influence on the decision made based on the map. I developed innovative prototypes for certain types of WFD maps to the general public and decision-makers. / Elsisorban szeretnék köszönetet mondani témavezetiimnek Philippe Quodverte-nek és José Jesús Reyes Nunez-nek, akik a doktori kezdetétil tanácsaikkal folyamatosan segítettek. Philippe Quodverte-nek külön szeretném megköszönni, hogy Erasmusos orléans-i tartózkodásom után három évvel újbóli támogatásáról biztosított és elvállalta a doktori témám vezetését, illetve azt a türelmet, amivel segített a francia doktori kutatásra vonatkozó eliírások és térképészeti hagyományok elsajátításában. Nagyon élveztem a vele való beszélgetéseket és térképészeti eszmecseréinket. Emellett köszönettel tartozom Zentai Lászlónak és Verebiné Fehér Katalinnak a nekem nyújtott segítségükért és hasznos tanácsaikért, illetve az ELTE Térképtudományi és Geoinformatikai Tanszék minden munkatársának volt tanáraimnak, akik támogatásával jutothattam el a doktoriig. Továbbá köszönöm Guillame Giroir-nak, a Földrajzi Doktori Iskola (CEDETE) vezetijének, hogy befogadott csapatába, és részese lehetek a CEDETE életének. Köszönet az Orléans-i Egyetemen kollégáimnak Anabelle Mas-nak, Stéphane Grivel-nek, Frank Guéritnek és Bertrand Sajaloli-nak, akik tanácsaikkal támogattak és segítették munkámat. Külön köszönet Matthieu Lee-nek, a CEDETE térképészének, aki észrevételeivel segítette a doktoriban bemutatott térképek elkészítését. Külön szeretném megköszönni mindazoknak, akik magyar és francia részril segítettek a Víz Keretirányelv és az INSPIRE végrehajtásának megismerésében, illetve az adatok elérésében, azaz név szerint François Robida (BRGM), Janik Michon (ONEMA), Jelinek Gabriella (Vidékfejlesztési Minisztérium), Tahy Ágnes (VKKI). Köszönettel tartozom Vikor Zsuzsának a dolgozat nyelvhelyességének ellenirzéséért. Köszönöm emellett családomnak, szüleimnek, nagyszüleimnek és testvéremnek, hogy bátorítottak és mellettem álltak. Nem utolsó sorban szeretném megköszönni doktorandusz társaimnak, Anh Tu-nak, Cristina-nak, Sylvain-nak, Eszternek, és barátaimnak, Virgine-nek Anabella-nak, Alexandranak, Chloë-nak és Dávidnak, hogy a nehéz pillanatokban segítettek és jó tanácsokkal láttak el. Külön köszönet Virginie Anne-nak a francia összefoglaló nyelvhelyességének ellenirzéséért és baráti támogatásáért.

[pt] O presente estudo analisa os aspectos comunicativos da visualidade de personagens de curta-metragens de animação contemporâneos brasileiros, empregando recursos oferecidos pela Semiologia. O cinema de animação é uma arte que tomou contornos na virada do século XX. Junto à indústria cultural, consolidou inúmeras personagens na memória de espectadores em todo o mundo. Contudo, os altos custos de produção das obras animadas obrigam muitos artistas a realizarem seus filmes independentes no formato de curtas metragens. Devido à brevidade dos filmes, esses criadores empregam repetidamente tipos e caricaturas como personagens principais, apresentando-os sob a forma de signos de fácil reconhecimento pela maioria dos espectadores. Esta pesquisa parte da hipótese de que a visualidade das personagens de obras cinematográficas de animação breves é um sistema projetado (intencionalmente ou não) para transmitir ao espectador mensagens de compreensão praticamente imediata a respeito da narrativa apresentada e dos conceitos personificados pelas personagens no curto intervalo de tempo em que elas estão em cena. Com base no levantamento de sessenta principais personagens apresentadas nos filmes brasileiros premiados no festival Anima Mundi em suas doze primeiras edições (1993-2004), esta dissertação investigou os estereótipos existentes nas produções recentes do cinema de animação brasileiro. Em seguida, buscou delinear maneiras com que os elementos visuais que os constituem atuam no processo de significação das personagens animadas, articulando-se enquanto uma linguagem visual específica. Para realizar tal investigação, os procedimentos metodológicos adotados tomaram por fundamentos os estudos de Semiologia de Roland Barthes e o conceito de atributos das personagens desenvolvido por Vladimir Propp. / [en] This paper analyses the communicative aspects of the look of contemporary Brazilian animation short movie´s characters, using resources from Semiology. Animation cinema became an art at the beginning of the 20th century. With the cultural industry, it has cemented lots of characters in spectator´s memories around the world. However, the high expenses of animated movies´ production force many artists to produce their authorial animations as short movies. Due to the brevity of these movies, their creators repeatedly use types and caricatures as main characters, presented morphologically as signs that can easily be recognized by most of the audiences. This research considers the hypothesis that the look of characters from animated short movies is a system designed (intentionally or not) to communicate to the spectator messages of prompt comprehension concerned to the narrative shown and to the concepts personified by the characters in the short period of time in which they are acting. Based on the survey of sixty main characters from Brazilian awarded movies at the twelve first editions of Anima Mundi festival (1993- 2004), this dissertation investigated the existing stereotypes in recent Brazilian animation short movies. Then, it tried to outline ways in which the visual elements that constitute these stereotypes act in the signifying process of the animated characters, working together as a specific visual language. In order to carry out such investigation, the adopted methodological procedures were based on Roland Barthes´ Semiology and Vladimir Propp´s concept of characters´ attributes.

Neste trabalho procura-se discutir a linguagem cartográfica para o ensino-aprendizagem da disciplina de Geografia. Nesse sentido entende-se que a Cartografia é uma linguagem visual, que deve estar presente nas aulas de Geografia. Ressalta-se que, essa linguagem cartográfica deve ser ensinada desde as séries inicias do segundo ciclo do ensino fundamental. Inclusive, que deve permanecer até o final do ensino médio no currículo escolar, em todas as séries. O objetivo é fazer com que os mapas façam sentido para os alunos, uma vez que, como linguagem que são, possuem um potencial comunicativo relevante no ensino e na aprendizagem. No entanto, para ficar clara a ideia do ensino e da aprendizagem que se espera efetivar, procura-se também trabalhar com autores que discutem o desenvolvimento da psique infantil, o currículo escolar e a escola. A intenção é compreender como ocorre o ensino e a aprendizagem e quais seriam os procedimentos didático-pedagógicos que permitiriam que esse processo se efetivasse nas aulas de Geografia. Nesse sentido foram pensados procedimentos e planos de aulas para o ensino dos conteúdos geográficos por meio do ensino da sintaxe das regras da representação gráfica conforme a Semiologia gráfica de Jacques Bertin. A partir da apreensão da sintaxe das regras da Semiologia Gráfica os alunos poderiam adquirir mais conhecimentos geográficos do que se apenas vissem os mapas temáticos como ilustração de textos. Os alunos apresentariam ganhos cognitivos e maior interesse pela disciplina de Geografia. Adquiririam também conhecimentos sobre a importância e representação dos fluxos e das redes geográficas para uma Cartografia adequada a uma Geografia renovada e perceberiam o potencial das anamorfoses para a representação do espaço geográfico como uma dimensão do social. Trabalha-se, portanto, com a concepção de espaço geográfico segundo a qual o espaço é relativo, produto da sociedade, um componente social. / In this work seeks to discuss the language mapping for teaching and learning the discipline of geography, because it understands that cartography is a visual language that must be present in geography lessons. It should be emphasized, including the need for such maps represent the geographical space as a component of society. From this understanding, we must think how to express graphically the dimension relations issues arising from central to geography such as distance, for example, in favor of school discipline Geography. In this sense it is used as the reference parameter of a desired mapping to be used in education that focuses on the relationships between objects and actions, and thus express the contemporary geographical space. For that, minimally graphical representation of the grammar should be known by students and teachers of this discipline, because it establishes that the maps must reproduce graphically the relationship of diversity, order and proportionality between the geographic objects by visual relationships of the same nature. This grammar structure of the graphic language, and if applied correctly in the construction of the map allows it to transmit the content of the information by viewing the finished map. The goal is to make theme maps make sense to students, in order to pass these students to be critical readers of maps with which we normally encounter. You can not criticize what you do not know. Accordingly, during the didactic and pedagogical procedures that allow the structuring of the cartographic language by students will be able to also develop the language of geography. It is evident that there is an urgent need for new forms of representation that are satisfaction with the new dimensionly. In this sense it has to be through the teaching of grammar syntax of the graphical representation according to Jacques Bertin\'s Semiology of Graphics to reach this goal. It is noteworthy that by observing the procedures suggested students also acquire knowledge about the importance and representation of geographic networks and flows to a Cartography appropriate for a geography that also is renewed. Realize even the potential of anamorphosis to represent the geographical space as a social dimension.

Esta pesquisa buscou analisar a atual situação das disciplinas cartográficas, especificamente a de Cartografia Temática, ministradas nos cursos de Geografia em instituições públicas de ensino superior do Estado do Paraná e o uso da Semiologia Gráfica entre elas, partindo-se da premissa de que o estudo da linguagem da representação gráfica, tendo esta como base metodológica, é aplicado aos conteúdos ministrados nas disciplinas cartográficas que compõem a grade curricular dos cursos paranaenses, fato que foi investigado através de entrevistas realizadas com os professores responsáveis e por meio da análise de seus planos de ensino. Ademais, buscou-se expor como esta é trabalhada nas disciplinas, investigando algumas questões como: em quais delas esta é empregada?; qual a formação dos docentes quanto a esta metodologia?; quais as bibliografias utilizadas por eles para embasar os conteúdos da Semiologia Gráfica?; como se encontram a estrutura da instituição, seus laboratórios e os softwares utilizados na disciplina?; as dificuldades dos alunos no processo de aprendizagem da Semiologia Gráfica; a importância desta, segunda a opinião dos docentes e; se há outras orientações metodológicas as quais os docentes utilizam além desta. A partir desta investigação, conclui-se que a Semiologia Gráfica continua sendo a corrente metodológica que orienta o entendimento da estruturação de uma linguagem, a da representação gráfica, essencial para a formação do licenciado e bacharel dessa ciência, como parte dos conteúdos cartográficos trabalhados dentro do curso superior de Geografia, sobretudo das instituições públicas de Ensino superior do Paraná. / This research sought to analyze the current situation of cartographic disciplines, specifically the Thematic Cartographic, being taught in geography courses in public higher education institutions of the Parana State and the use of Semiology of Graphics among them, starting from the premise that the language study of graphic representation, which was taken as a methodological basis, it is applied to the contents taught in cartographical disciplines which compose the curriculum grade of Parana courses, a fact that was investigated by interviewing responsible teachers and analyzing their teaching plans. In addition, it sought to expose how this is worked in the disciplines, investigating some questions such as: Which of them are being used? What is the knowledge of teachers about this methodology? Which are the bibliographies used by them to support the Semiology of Graphics Content? How the institution structure is found and how its laboratories and software are used during the discipline? Which are the main difficulties of the students in the learning process of Semiology of Graphics its relevance from teachers opinion and if there are other methodological guidelines which teachers use beyond it? From this work, it is concluded that the Semiology of Graphics remains the current methodological that guides the understanding of language structure, the graphical representation, being essential for licensee and bachelor formation of geography science, as part of cartographic contents worked out in Geography Degree, mainly in public higher education institutions of the Parana State.

Seres insólitos estiveram presentes no cordel europeu, especialmente entre os séculos XVIII e XIX, alimentando debates sobre verossimilhança, fé, ciência e política. Mais de um século depois, o fenômeno do cordel arrefece na Europa, mas tem vida no Brasil. Parte desses folhetos trata de criaturas insólitas, especialmente transformações, ou nascimentos extraordinários, abordados como curiosidade ou, mais frequentemente, relacionados à intervenção divina. Ainda que nem sempre datados, é possível presumir que os exemplares coletados para este trabalho tenham sido publicados entre as décadas de 1960 e 1980. Neles, a aparição de monstros é frequente e se situa principalmente entre o satírico e o religioso / Uncanny beings were present in European chapbooks, especially during the eighteenth and nineteenth centuries, stimulating debates concerning verisimilitude, faith, science and politics. Over a century later, the chapbook phenomenon loses strength in Europe but gains life in Brazil. Some of these brochures deal with uncanny creatures, mainly metamorphoses, or bizarre births, considered as curiosities or, more frequently, as results of divine intervention. Even though they may not bear a date, it can be presumed that the chapbooks analyzed in this dissertation were published from the 1960s to the 1980s. Monsters appear quite frequently in this material, in registers that are situated mainly between the satirical and the religious

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-05-18T13:49:34Z No. of bitstreams: 1 Sandra Regina Klafke Verbist_.pdf: 1801726 bytes, checksum: f3874e60fef1614b68ee7fe0cde719fc (MD5) / Made available in DSpace on 2016-05-18T13:49:34Z (GMT). No. of bitstreams: 1 Sandra Regina Klafke Verbist_.pdf: 1801726 bytes, checksum: f3874e60fef1614b68ee7fe0cde719fc (MD5) Previous issue date: 2016-03-14 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / FAPERGS - Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul / Esta tese se apresenta como um produto de metassemântica por criar um discurso a respeito da possibilidade de a arte que se realiza em imagem fotográfica constituir-se como testemunho da experiência humana na linguagem. Pelo caminho que conduz à semiologia de segunda geração, o estudo aborda a arte como potência testemunhal representativa da experiência do homem na linguagem, tendo como objeto a fotografia organizada no formato de narrativa, tal como arranjada na obra fotográfica Arquipélago, de Cristiano Sant’Anna. As bases para este estudo são a teoria da enunciação derivada da obra de Émile Benveniste (1995, 2006, 2014) e a noção de testemunho derivada do pensamento filosófico de Giorgio Agamben (2008a). O produto gerado por esta pesquisa contém uma possibilidade teórica que inclui a enunciação, mas que não se esgota nela, indicando que arte fotográfica é testemunho da experiência humana na linguagem quando evoca a realidade positiva que revolve o conjunto do simbólico e estimula o homem a, na e pela linguagem, realocar-se e a procurar uma nova posição para si no universo discursivo, em um tempo infinitamente presente, mobilizando a cadeia significante da qual faz parte a favor de sua necessidade de existir na e pela língua. / This thesis is presented as a product of metasemantics because it creates a discourse about the possibility of art held in photographic image to establish itself as a testimony of human experience in language. Through the road leading to the second-generation semiology, this study addresses art as a representative force of testimony of man's experience in language, having as its object photography organized in a narrative format, as arranged in the photographic work Arquipélago, Cristiano Sant'Anna. The bases for this study are derived from the theory of enunciation in Émile Benveniste's work (1995, 2006, 2014) and the notion of testimony derived from the philosophical thought of Giorgio Agamben (2008a). The product generated by this research contains a theoretical possibility which includes the enunciation, but does not stop there, indicating that photographic art is a testimony of the human experience in language when it evokes the positive reality that revolves the symbolic and stimulates man to, in and through language, relocate himself and to look for a new position for himself in the discursive universe, in an infinitely present time, mobilizing the chain of signifiers of which he is part, in order to meet his need to exist in and through language.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-05-18T16:20:43Z No. of bitstreams: 1 Sabrina Vier_.pdf: 1685365 bytes, checksum: 498a1834d7c97138fe1d728fe27013b8 (MD5) / Made available in DSpace on 2016-05-18T16:20:43Z (GMT). No. of bitstreams: 1 Sabrina Vier_.pdf: 1685365 bytes, checksum: 498a1834d7c97138fe1d728fe27013b8 (MD5) Previous issue date: 2016-03-15 / Nenhuma / Em 1992, manuscritos de Émile Benveniste sobre a linguagem poética foram anunciados e geraram o que hoje se conhece como Dossiê Baudelaire. Esse material foi depositado na Biblioteca Nacional da França em 2004, vindo a público em 2008, via tese de Chloé Laplantine, e em 2011, via editora Lambert-Lucas. O Dossiê Baudelaire, provável estudo de Benveniste para um artigo encomendado por Roland Barthes para a revista Langages, é composto por 367 fólios. Os poucos estudos já realizados concordam que o dossiê apresenta uma pesquisa de Benveniste sobre o discurso de Baudelaire. Indo além dessa constatação, esta tese objetiva verificar como a escrita de Benveniste presente no dossiê esboça um estudo semiológico de uma obra e, portanto, do poético na linguagem. A categoria de análise, inspirada em Fenoglio (2009) e em Nietzsche (2009, 2007, 2004), é denominada de ruminação, pois é pela insistência enunciativa verificada na escrita de Benveniste que serão estabelecidos os fatos enunciativos para análise. O corpus não é constituído pela totalidade dos fólios, mas por aqueles que deixam ver termos e procedimentos ruminados na escrita de Benveniste. Dos 159 fólios selecionados, foram elencadas para análise duas perspectivas de pesquisa: (i) a particularidade e a singularidade do discurso de Baudelaire e (ii) o caráter radicalmente específico da língua poética. Em relação à primeira, dois procedimentos comparecem como os mais ruminados: (a) a escolha das imagens reveladoras e (b) a busca pela estrutura da obra inteira. No que se refere à segunda, dois aspectos parecem tornar e retornar na escrita de Benveniste: (a) a natureza e (b) o funcionamento da língua poética. Anotam-se os seguintes resultados: a particularidade e a singularidade do discurso de Baudelaire devem-se à imagem do espelho, que engendra outras imagens criativas, e às relações entre o tempo, a sonoridade e a invocação, que apontam para a correspondência primordial: o homem e o mundo. A correspondência é, então, o princípio que estrutura o universo poético baudelaireano. Esses resultados colocam em cena o caráter radicalmente específico da língua poética: o material – a palavra-escrita ¬–, a unidade ¬¬– a palavra-ícone – e o princípio de funcionamento – a iconia. Comprova-se, desta forma, que a escrita de Benveniste evidencia um estudo semiológico do poético na linguagem a partir de uma perspectiva linguística que transcende o signo saussuriano e encontra a emoção e a experiência humana. / In 1992, Émile Benveniste’s manuscripts about poetic language were disclosed and generated what today is known as Baudelaire Dossier. This material was deposited at the National Library of France in 2004, and publicized in 2008 through Chloé Laplantine’s thesis and in 2011 by Lambert-Lucas publishing house. The Baudelaire Dossier, probably a Benveniste’s study for a paper commissioned by Roland Barthes for Langages magazine, consists of 367 folios. A few studies have shown that the dossier presents a Benveniste’s research into Baudelaire’s discourse. Going beyond that finding, this thesis aims to investigate how Benveniste’s writing in the dossier can be delineated as a semiological study of a work and, thus, a study on the poetical in language. The analysis category, inspired by Fenoglio (2009)and by Nietzsche (2009, 2007, 2004), it is named rumination, because is by means of enunciation insistence verified in writing Benveniste to be established the enunciation facts for analysis. The corpus is not composed of the total of folios, rather, it comprises those evidencing terms and procedures ruminated in Benveniste’s writing. Of the 159 selected folios, two research perspectives have been selected for analysis: (i) both the particularity and singularity of Baudelaire’s discourse, and (ii) the radically specific character of the poetic language. Regarding the former, the most ruminated procedures were: (a) the selection of images, and (b) the search for the structure of the whole work. Concerning the latter, two aspects seemed to be repeatedly addressed in Benveniste’s writing: (a) nature, and (b) the functioning of the poetic language. The following results could be evidenced: the particularity and singularity of Baudelaire’s discourse are due to both the image of the mirror, which engenders the other images, and the relationships between time, sonority and invocation, which point out the primordial correspondence: the man and the world. The correspondence is thus the principle structuring Baudelaire’s poetic universe. These results has brought into play the radically specific character of the poetic language: the material ¬– the written word–, the unity – the icon word – and the functioning principle ¬¬– the iconicity. It is verified so that the Benveniste writing shows a semiological study of poetic language from a linguistic perspective that transcends the saussurian sign and reaches emotion and human experience.