Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Les historiens modernes admettent qu’il y avait dans le monde grec de l’époque classique une grande variété dans la manière de vivre sa vie religieuse. Ainsi, les études des hellénistes sur la religion grecque se sont beaucoup portées sur des faits religieux particuliers : sur la religion à l’échelle de cités, de régions, ou encore sur des faits religieux minoritaires tels que la magie, l’orphisme et le pythagorisme, voire sur la religion à l’échelle d’individus comme Platon. La notion de « norme » religieuse et, par conséquent, de ce qui ne fait pas partie de la norme, suscite également un intérêt, de même que celle d’altérité. Une étude sur les différences religieuses et leur appréciation en Grèce à l’époque classique se conçoit comme le prolongement de ces travaux, en cherchant notamment à créer un lien entre eux. La question principale qui est posée est celle du rapport à l’autre en matière religieuse. Comment les Grecs pensaient-ils et se comportaient-ils lorsqu’ils se trouvaient confrontés à une autre manière de penser et d’agir que la leur en matière de religion ? Étaient-ils indifférents, curieux, intéressés, méprisants, violents ? Il faut également rechercher les causes de telles attitudes : pourquoi pensaient-ils et agissaient-ils comme ils faisaient ? L’étude porte donc sur de nombreux thèmes – de la religion des Barbares à celle du voisin le plus proche, en passant par celle des Grecs d’autres cités – selon un angle particulier. Il est question d’étudier la différence, la pluralité des expériences religieuses et la rencontre entre différentes expériences religieuses, entre diverses manières de penser et de pratiquer la religion. Cela revient à analyser le frottement entre plusieurs systèmes religieux, entre plusieurs normes religieuses ou entre un phénomène religieux minoritaire, voire individuel, et la norme religieuse telle qu'elle peut être définie par ailleurs. / Modern historians admit that there was a great variety in the Greek world of the classical period in the way one lives one's religious life. Thus, studies on the Greek religion have focused much on particular religious facts: on religion at the level of cities, regions, or even on minority religious facts such as magic, orphism and pythagorism, or even on religion of individuals like Plato. The notion of a religious "norm" and, therefore, of what is not part of the norm, is also of interest, as is the notion of otherness. A study on religious differences and their appreciation in Greece in the classical period is conceived as an extension of these works, seeking in particular to create a link between them. The main question that is asked is that of the relationship with the other in religious matters. How did the Greeks think and behave when confronted with a different way of thinking and acting than their own in matters of religion? Were they indifferent, curious, interested, contemptuous, violent? We must also look for the causes of such attitudes: why did they think and act as they did? The study therefore focuses on many themes - from the religion of the Barbarians to that of the nearest neighbour, including that of the Greeks in other cities - from a particular angle. It is about studying the difference, the plurality of religious experiences and the encounter between different religious experiences, between different ways of thinking and practising religion. This amounts to analysing the friction between several religious systems, between several religious norms or between a minority or even individual religious phenomenon and the religious norm.

La vie d’Ugo Foscolo (1778-1827), auteur parmi les plus intéressants de la littérature italienne à cheval sur le XVIIIe et le XIXe siècle, se déroule dans une époque riche en événements historiques et bouleversements politiques, avec des conséquences inéluctables, voire fatales, sur le rôle éthique et civil de l’artiste. Tout cela rejaillit sur sa Correspondance, qui pour l’ampleur des pièces, la prégnance des contenus et sa haute valeur esthétique, attire à juste titre, toute notre attention. Œuvre depuis toujours pratiquée par les “foscolisti”, dans une optique essentiellement biographique et documentaire, la Correspondance n’a cependant jamais fait l’objet d’une analyse systématique dans le cadre des études de genre, de style. Ainsi le travail que nous présentons, intitulé Étude et interprétation critique de la Correspondance d’Ugo Foscolo, envisage d’en marquer les caractéristiques de l’écriture de genre, la richesse de ses liens avec le grand-œuvre, les changements montrés tout au long son extension (1794-1827), et surtout la haute littérarité, qui en fait un pan essentiel et non marginal du polymorphe corpus «foscolien». Avant d’entrer dans le vif de notre recherche, nous avons conduit un bref sondage sur les résultats acquis par l’épistolographie d’aujourd’hui. Ensuite nous avons organisé un plan de travail en deux phases: dans la première phase on a dressé une classification des lettres de cette correspondance, en procédant tout suite après à leur analyse par classe. Notamment, on a établi six groupes ou types de lettres selon les critères de classement du destinataire et du contenu prédominant. Dans cette phase du travail, notre engagement porte sur une recherche thématique et en partie stylistique, « horizontale », afin de souligner les idées de celui qui écrit, tous les aspects de sa personnalité flamboyante, son teneur psychologique et affectif dans les situations les plus différentes, en saisissant, si possible, comment les expériences, les sentiments, les liens avec ses correspondants, et beaucoup d’autres choses encore, se transforment, dans la lettre, en façon de registre communicatif, en écriture et style. Dans la deuxième phase de notre recherche nous avons regardé à la correspondance en perspective diachronique selon un profil historiciste, en procédant à une relecture “verticale” de la correspondance, qui est en rapport continu et flexible avec une société toujours différente, avec le devenir des autres expériences littéraires, culturelles et politiques, avec la trame des vicissitudes dramatiques vécues par l’auteur. L’étude entreprise, comme nous l’avons expliqué dans les Conclusions de la thèse, nous a permis de faire beaucoup d’observations historique-critiques et interprétatives; en outre notre recherche a enrichi le profil biographique de l’auteur avec quelque notation intéressante, a exploré la physionomie des rapports de l’écrivain avec maints de ses différents correspondants et surtout a confirmé nos convictions à l’égard de l’emploi de la lettre privée, fait par Foscolo, comme forme d’art / Ugo Foscolo (1778-1827), one of the most interesting authors of Italian literature between the eighteenth and nineteenth centuries, lived during a period that was rich in historical events and political upheavals which had inescapable consequences on the ethical and civil role of the artist. All this reverberates in his Epistolario which deservedly holds our attention for its abundance of finds, meaning in the contents and beautiful aesthetics. Despite being a work that has always been used by “Foscolists” for biographies and documentaries, the Epistolario, has not been examined through a theoretical-critical lens. Hence this work titled Studio e interpretazione critica dell' Epistolario di Ugo Foscolo [Study and critical interpretation of the Ugo Foscolo’s Epistolary] was started with the intention of highlighting the characteristics of the writings of the genre, the richness of its relations with the work, the variations evidenced in the time frame of its extension (1794-1827) and above all the high literariness which makes it an essential work in the varied Foscolian corpus. Before entering the heart of the research, we have carried out a survey on the results of the most recent epistolography. Thus, we have organized our work in two phases: in the first part, we organized a classification of the letters and then proceeded with their analysis by class. In particular, we have identified six groups or classes of letters based on the classification criteria of addressee and primary topic In this phase, our task was a thematic, and partly stylistic, study done "horizontally" to underline the ideas, the different aspects of the personality, the psychological-affective tone of the writer in different situations, trying to gather the sentiments, the relationships with the different correspondents and much more as a living experience translated as writings and style of the manner of the recorded communications in the letter. In the second phase of our work, we looked at the Epistolario from a diachronic perspective with regards to a historicist profile, proceeding with a “vertical" rereading of the Foscolian correspondence in continuous and flexible relation with a different society; the arrival of other literary, cultural and political experiences; the intrigue of the dramatic sequence of human events that the author went through. The study undertaken, as we have illustrated in the Conclusion of the thesis, has permitted us many historical-critical and interpretative observations, enriched the biographical profile of author with certain interesting notations, explored the physiognomy of the relationships with many of his different correspondents and above all has confirmed the beginning of our belief that Foscolo consciously used the letter as an art form

Lima Barreto aborda o intelectual do seu tempo a partir do seu ideal de arte social, e dentro deste ideal de arte o intelectual é aquele que mantém articulação com o saber, e faz disto um benefício para a coletividade (OAKLEY, 2011). Portanto, este trabalho aborda as figurações da intelectualidade no Brasil utilizando a idealização de arte e intelectual de Lima Barreto em nossas análises sobre a figura do intelectual. Inevitavelmente ao tratar da temática do intelectual não poderíamos deixar de abordar a própria figura de Lima Barreto como intelectual em seu tempo. Assim sendo, busca-se compreender Lima Barreto como intelectual preterido por seus contemporâneos, bem como não engajado em lutas de classes sociais, distante de qualquer categoria de intelectual orgânico de Gramsci. Com isto infere-se que Lima Barreto não fazia parte da elite intelectual da Belle Époque, e nem era porta-voz do subúrbio. Ele foi um escritor e intelectual militante somente de uma causa: a arte como ferramenta para comunhão entre os homens. Escolhemos o gênero crônica por ela ser algo diário, escrita de observador e gênero onde Lima pode explorar a sua escrita irônica e sarcástica sobre diversos temas, em especial o intelectual (SÁ, 2005). Portanto, as crônicas de Lima Barreto podem nos oferecer uma melhor representação dessas figurações do intelectual, seja na política, imprensa ou literatura. Lima Barreto vai construir seu ideal de arte e intelectual dentro da sociedade Belle Époque, sociedade essa que abrigava um trabalho de elaboração da literatura em que a forma era mais importante do que o conteúdo e fomentava a política de modernização do país numa clara imitação dos modos e costumes europeus em nossa literatura. Ao contrário disto, Lima Barreto defendia que o importante, para o intelectual, era o trato com o conteúdo, ser contemporâneo, uma relação verdadeira com a inteligência e que sua escrita estivesse a serviço do bem comum. Evidente que a literatura idealizada por Lima Barreto era utópica, mas militante, e é por isso que ele, Lima Barreto, é um intelectual de resistência / Lima Barreto addresses the intellectual of his time from its social ideal of art, and art within this ideal of the intellectual is one who maintains liaison with knowledge, and makes it a benefit to the community (OAKLEY, 2011). Therefore, this paper addresses the figurations of the intelligentsia in Brazil, using Lima Barretos idealization of art and intellectual in our analysis of the figure of the intellectual. Inevitably, when addressing the issues relating to the intellectual, we could not fail to address the very figure of Lima Barreto as an intellectual in his time. Therefore, we seek to understand how Lima Barreto as an intellectual was underestimated by his contemporaries and did not engage himself in social class struggles, this way standing apart of Gramscis definition of organic intellectual. We argue that Lima Barreto was not part of the intellectual elite of the Belle Époque, nor was spokesman of Rio de Janeiros suburb. He was a writer and intellectual activist supporting only one cause: art as a tool for a brotherhood of men. We chose the genre crônica because it is a daily writing gender and, as a social observer, Lima Barreto explored with irony and sarcasm topics related to the intellectual (SA, 2005). Therefore, the chronicles of Lima Barreto can offer us a better representation of these figurations of the intellectual in politics, media or literature. Lima Barreto built his ideal of art and intellectual in the so called Belle Époque, when a work of literature was considered way more important for its language than content and political modernization of the country was a clear imitation of European manners and customs. Unlike this, Lima Barreto argued that what is important for the intellectual is dealing with the content, being contemporary, having a true relationship with his own intellect and directing his writing to serve the common good. Obvously, literature was idealized by Lima Barreto, a militant utopian, and that is why he, Lima Barreto, was an engaged intellectual

Lima Barreto aborda o intelectual do seu tempo a partir do seu ideal de arte social, e dentro deste ideal de arte o intelectual é aquele que mantém articulação com o saber, e faz disto um benefício para a coletividade (OAKLEY, 2011). Portanto, este trabalho aborda as figurações da intelectualidade no Brasil utilizando a idealização de arte e intelectual de Lima Barreto em nossas análises sobre a figura do intelectual. Inevitavelmente ao tratar da temática do intelectual não poderíamos deixar de abordar a própria figura de Lima Barreto como intelectual em seu tempo. Assim sendo, busca-se compreender Lima Barreto como intelectual preterido por seus contemporâneos, bem como não engajado em lutas de classes sociais, distante de qualquer categoria de intelectual orgânico de Gramsci. Com isto infere-se que Lima Barreto não fazia parte da elite intelectual da Belle Époque, e nem era porta-voz do subúrbio. Ele foi um escritor e intelectual militante somente de uma causa: a arte como ferramenta para comunhão entre os homens. Escolhemos o gênero crônica por ela ser algo diário, escrita de observador e gênero onde Lima pode explorar a sua escrita irônica e sarcástica sobre diversos temas, em especial o intelectual (SÁ, 2005). Portanto, as crônicas de Lima Barreto podem nos oferecer uma melhor representação dessas figurações do intelectual, seja na política, imprensa ou literatura. Lima Barreto vai construir seu ideal de arte e intelectual dentro da sociedade Belle Époque, sociedade essa que abrigava um trabalho de elaboração da literatura em que a forma era mais importante do que o conteúdo e fomentava a política de modernização do país numa clara imitação dos modos e costumes europeus em nossa literatura. Ao contrário disto, Lima Barreto defendia que o importante, para o intelectual, era o trato com o conteúdo, ser contemporâneo, uma relação verdadeira com a inteligência e que sua escrita estivesse a serviço do bem comum. Evidente que a literatura idealizada por Lima Barreto era utópica, mas militante, e é por isso que ele, Lima Barreto, é um intelectual de resistência / Lima Barreto addresses the intellectual of his time from its social ideal of art, and art within this ideal of the intellectual is one who maintains liaison with knowledge, and makes it a benefit to the community (OAKLEY, 2011). Therefore, this paper addresses the figurations of the intelligentsia in Brazil, using Lima Barretos idealization of art and intellectual in our analysis of the figure of the intellectual. Inevitably, when addressing the issues relating to the intellectual, we could not fail to address the very figure of Lima Barreto as an intellectual in his time. Therefore, we seek to understand how Lima Barreto as an intellectual was underestimated by his contemporaries and did not engage himself in social class struggles, this way standing apart of Gramscis definition of organic intellectual. We argue that Lima Barreto was not part of the intellectual elite of the Belle Époque, nor was spokesman of Rio de Janeiros suburb. He was a writer and intellectual activist supporting only one cause: art as a tool for a brotherhood of men. We chose the genre crônica because it is a daily writing gender and, as a social observer, Lima Barreto explored with irony and sarcasm topics related to the intellectual (SA, 2005). Therefore, the chronicles of Lima Barreto can offer us a better representation of these figurations of the intellectual in politics, media or literature. Lima Barreto built his ideal of art and intellectual in the so called Belle Époque, when a work of literature was considered way more important for its language than content and political modernization of the country was a clear imitation of European manners and customs. Unlike this, Lima Barreto argued that what is important for the intellectual is dealing with the content, being contemporary, having a true relationship with his own intellect and directing his writing to serve the common good. Obvously, literature was idealized by Lima Barreto, a militant utopian, and that is why he, Lima Barreto, was an engaged intellectual

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-02-07T13:36:01Z No. of bitstreams: 1 cristianedejesusoliveira.pdf: 429682 bytes, checksum: 105967e51b43d7bbc3521d704de744a2 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-07T14:15:57Z (GMT) No. of bitstreams: 1 cristianedejesusoliveira.pdf: 429682 bytes, checksum: 105967e51b43d7bbc3521d704de744a2 (MD5) / Made available in DSpace on 2017-02-07T14:15:57Z (GMT). No. of bitstreams: 1 cristianedejesusoliveira.pdf: 429682 bytes, checksum: 105967e51b43d7bbc3521d704de744a2 (MD5) Previous issue date: 2006-09-15 / O Rio de Janeiro foi a primeira cidade brasileira a passar por uma ampla reforma urbana, ainda nos primeiros anos do século XX (1903-1906). Esta reforma, que operou de maneira estrutural e arquitetônica, mas também ideológica, visava transformar a cidade num centro atrativo através da sua inserção num quadro maior de modernização em um momento de intensa demanda por capitais, técnicos e imigrantes europeus. Tendo em vista esse contexto, a questão central dessa dissertação é a análise da idéia de cidade que se quis implantar por seus idealizadores, através da análise de documentos oficiais produzidos para tal empreitada e a partir desta, a idéia de cidade e automaticamente da reforma, que se perpetuou nas crônicas de Paulo Barreto, também conhecido pelo seu pseudônimo mais famoso de João do Rio, através da análise de sua coluna Cinematógrapho, publicada na Gazeta de Notícias entre os anos de 1907 e 1910. / Rio de Janeiro was the first Brazilian city to undergo a comprehensive urban reform, as early as the first years of the 20th century (1903-1906). This was not only a structural and architectural reform but also ideological and cultural. It aimed to transform the city and to involve it in a larger framework of modernization, adding to its attractiveness at a moment of high demand for european investments, technicians and immigrants. Bearing this context in mind, the core of this dissertation lies in the analysis of the idea of city the proposers of the urban reform wanted to see realized. The materials employed for the aforesaid analysis were the official documents produced for the undertaking and those chronicles of Paulo Barreto – best known as João do Rio – published in the Gazeta de Notícias’ Cinematógrapho column from 1907 to 1910.

Dans la continuité des recherches menées sur les rapports entre presse et littérature au XIXe siècle, cette thèse présente et analyse une sélection d'articles de presse consacrés à la littérature, écrits par Maurice Barrès entre 1883 et 1923. La mise en perspective de la trajectoire littéraire du romancier de l'Énergie nationale à travers ce corpus de textes permet d'illustrer les enjeux liés à la figure de l'écrivain-journaliste dans le contexte historique et culturel de la Belle Époque. Barrès est en effet le représentant d'une génération littéraire qui a su construire et affirmer une légitimité durable au sein du champ littéraire grâce à sa pratique du journalisme. La presse, qui joue pour lui un rôle formateur, l'amène à définir le romancier qu'il souhaite devenir. En dévoilant le lecteur derrière l'écrivain, les études critiques et les chroniques littéraires de Barrès exposent la posture auctoriale choisie par l?artiste et proposent une genèse de la sensibilité barrésienne. L'article de presse devient un espace où se reflète et se développe l'art littéraire de Barrès. Alors que l'art romanesque influence la poétique journalistique, l'imaginaire médiatique s'épanouit au sein de l'univers fictionnel de l'écrivain. Par sa pratique de l'écriture, Barrès crée des textes hybrides qui interrogent la notion même de littérature / Continuing and supplementing previous work on the relationship between literature and the press in 19th century France, this dissertation presents and examines a selection of articles devoted to literature written by Maurice Barrès between 1883 and 1923. Considering the literary career of the author of Le Roman de l'énergie nationale through his journalistic work, this analysis throws new light on the state of "écrivain-journaliste" in the historical and cultural background of the Belle Époque. Indeed, Barrès appears here as a symbol of a literary generation that built and maintained its enduring legacy in the literary field thanks to its journalistic writing. The press played an educative role for Barrès, allowing him to define the novelist he wished to become. By revealing the reader behind the writer, close readings of Barrès' critical studies and literary chronicles exposes an auctorial "posture" chosen by the artist and offers a genesis of the Barresian sensibility. Press articles thus became a space of self-reflexivity and development for Barrès' literary art. Yet, just as the art of the novelist influenced the poetics of the journalist, a media imagination flourished in the universe of the fiction writer as well. Across all of his writing, then, Barrès created hybrid texts that interrogate the very notion of literature

L’Histoire de Florimont, écrit en 1188 par Aimon de Varennes, a connu un succès important au Moyen Âge. Ce poème a été mis en prose au quinzième siècle sous forme manuscrite dont il existe une version longue, B.N. f. fr. 12566, et une version courte, B.N. f. fr. 1490. En 1528 paraît une édition, également en prose, due aux soins de l'imprimeur Jehan Longis. D ’autres imprimeurs ont ensuite choisi de tirer leurs propres éditions de ce texte, le modifiant légèrement selon leur goût. Bien que la version en vers ait suscité l’intérêt de nombreux chercheurs à partir de la fin du XIXe siècle, notamment Alfons Hillca, qui a publié une édition du poème en 1932, la version en prose imprimée demeure relativement inconnue, et peu de chercheurs ont consacré leurs efforts à son étude. L’objet de cette thèse est de faire connaître la version imprimée de Florimont, établie selon les normes des éditeurs modernes des textes de la Renaissance et du Moyen Âge. Nous avons également tenu compte de la recherche connue sur ce texte, recherche aussi bien philologique que critique ; nous l'avons parfois acceptée, parfois remise en question, toujours dans la perspective de mieux faire comprendre ce récit. Voilà pourquoi nous avons étudié la façon dont le remanieur de l’imprimé parvient à retenir les éléments structuraux, les rapports féodaux entre les personnages, les éléments du bestiaire médiéval et le jeu onomastique qui ont tous contribué à la beauté du poème du XIIe siècle. Notre étude « génético-comparative » permettra de voir en quoi les versions en prose diffèrent de la version originale. Cette analyse s’est avérée compliquée, car les remanieurs des versions en prose ont tous pris le poème comme point de départ. Il existe donc plusieurs genèses à suivre en parallèle. L’étude des rapports féodaux éclaire celle de l’influence du bestiaire médiéval parce que le comportement des personnages relève des deux domaines. Quant au jeu onomastique, nous avons repéré tous les renseignements possible afin de démontrer comment le remanieur de Florimont (1528) retient les éléments de cet outil créateur, déjà en place dans le poème d’Aimon de Varennes. Enfin, nous espérons que notre recherche suscitera un nouvel intérêt pour ce texte, qui mènera encore plus loin que les marges de cette thèse. / Québec Université Laval, Bibliothèque 2017