La production dramatique de Jean-François-Louis-Népomucène Lemercier s’inscrit justement dans ce moment de transition entre ce que l’on a appelé Néoclassicisme et le Romantisme. Né en 1771 et mort en 1840, cet homme de lettres et académicien a assisté aux bouleversements qui ont caractérisé l’histoire de France du tournant des Lumières jusqu’à la Révolution de Juillet et même après. L’étendue de sa vie et surtout de son activité de dramaturge dépassent donc amplement ce « long dix-huitième siècle » que l’histoire littéraire tend à prolonger jusqu’en 1820. Ce travail s’intéresse donc à la production d’un dramaturge qui, dans son ambigüité intrinsèque, s’avère à plusieurs égards révélatrice d’une ambigüité caractérisant de manière plus générale l’ensemble de cette période de transition. Auteur de celle que l’on retient souvent comme la dernière tragédie classique – c’est le cas de son Agamemnon de 1797 – Lemercier est également considéré, déjà à partir du dix-neuvième siècle et notamment par Schlegel, comme l’un des premiers auteurs proprement romantiques, son Pinto de 1800 étant justement une protoforme de drame romantique. Ce travail se compose de deux grandes parties, la première consistant en une étude monographique sur l’ensemble de la production dramatique de Lemercier, la deuxième en une édition critique des œuvres majeures du dramaturge, son Agamemnon, qui représente un de plus grands succès tragiques de la période directoriale dont les reprises continuent jusqu’en 1826, et Pinto, une « comédie historique » qui fut en revanche un succès de scandale lors de sa création à la Comédie-Française et qui encourût par la suite la désapprobation de cinq régimes politiques. / The dramatic productions of Jean-François-Louis Népomucène Lemercier (1771-1840) reveal a transition between Neoclassicism, Preromanticism and Romanticism. This writer and academician witnessed the political and social upheavals that characterized France from the twilight of the Enlightenment until the July Revolution and thereafter. The span of his life and works amply exceeds the "long Eighteenth Century" that literary historians have extended to 1820 (Claude Pichois). This dissertation includes two main parts: a monographic study of Lemercier’s dramatic production and a critical edition of the playwright’s major works, Agamemnon (1797), one of the most successful tragedies during the “Directoire” and to 1826; and Pinto, a “historical comedy” composed between 1798 and 1800, and which was seen as a “romantic” triumph in 1834. Lemercier has often been regarded as the author of one of the last classical tragedies (Agamemnon i.e.); nevertheless, in spite of being, at times, one of Romanticism’s fiercest detractors, he emerges in Nineteenth century criticism – and above all in Schlegel’s writings – as one of the most influential pioneers of romantic drama. The intrinsic ambiguity of Lemercier’s dramatic production reveals the uncertainties of this transitional age. This ambiguity thus demands a holistic approach: the context of Lemercier’s literary works will be analyzed from an esthetic, historical and political point of view, emphasizing their intricate relationships with literary and political authorities and censorship issues throughout the period. / La produzione drammatica di Jean-François-Louis Népomucène Lemercier si inserisce in quel momento di transizione tra Neoclassicismo, Preromanticismo e Romanticismo che caratterizza gli ultimi anni del Diciottesimo e il primo trentennio del Diciannovesimo secolo. Nato nel 1771 e morto nel 1840, questo scrittore e accademico ha assistito agli sconvolgimenti che hanno caratterizzato la storia della Francia dal tournant des Lumières fino alla Rivoluzione di Luglio e anche oltre. La sua vita e la sua attività poetica oltrepassano ampiamente il “lungo Settecento” che la storia letteraria tende ad estendere sino al 1820 già a partire dalla periodizzazione proposta da Claude Pichois. Questo lavoro si concentra sulla produzione di un autore che, nella sua intrinseca ambiguità, è sotto molti aspetti indicativa di un’indeterminatezza che caratterizza più in generale questo periodo di transizione estetico-letteraria. Spesso considerato, in primis da Madame de Stael, come l’autore dell’ultima tragedia classica - è il caso di Agamemnon del 1797 - Lemercier è stato visto, già a partire dal XIX secolo e in particolare da Schlegel, come uno dei primi autori di drammi romantici, di cui Pinto, ou la journée d’une conspiration (1800) rappresenterebbe una protoforma. Il presente lavoro, che si focalizza sul macrotesto teatrale di Lemercier senza tuttavia negligere altri aspetti della sua variegata opera, consta essenzialmente di due sezioni, una dedicata allo studio del macrotesto teatrale dell’autore, con un’attenzione particolare al contesto-storico letterario e alla ricezione; l’altra all’edizione di due opere, Agamemnon e Pinto, che rappresentano per molti aspetti due degli esempi più significativi della sua produzione drammatica. Il rapporto conflittuale di Lemercier con l’autorità politica e con la nascente “scuola” romantica saranno inoltre oggetto di questa riflessione.

Contrairement à la lamentation rituelle, les lamentations tragiques sont réalisées dans un large éventail de situations. En effet, elles peuvent avoir lieu avant l’événement déploré, porter sur d’autres malheurs qu’un décès, ou encore lamenter le sort de la personne même qui mène la lamentation. Cette variété de contextes est vraisemblablement à l’origine de la grande diversité de formes et de contenus des lamentations que l’on trouve dans le corpus tragique. De quelle façon les tragédiens modifient-ils la forme traditionnelle de la lamentation ? Ces modifications dépendent-elles d’éléments contextuels particuliers ? Pour répondre à ces questions, j’examinerai trois passages : Cassandre dans l’Agamemnon d’Eschyle, Créon dans l’Antigone de Sophocle et Polymestor dans l’Hécube d’Euripide. Ces trois lamentations ont lieu dans des contextes très différents, notamment en ce qui concerne l’identité du lamentant (genre, âge, statut social, ethnicité) et la relation que celui-ci entretient avec le Chœur. De surcroît, elles ont été composées par des auteurs et à des dates différentes, ce qui permettra de prendre en compte l’évolution de la forme au cours du Vème siècle avant J.-C. L’analyse suggère que la forme de la lamentation du personnage s’adapte surtout à son ethnicité et à son genre, tandis que la participation du Chœur dépend directement de sa relation avec le lamentant. Parfois, la stylistique est également influencée par le style propre à l’auteur ou par la date de composition de la pièce. Quant au contenu, les thèmes abordés sont principalement déterminés par la position et la fonction du passage dans la tragédie. Puisque les fonctions d’une lamentation tragique sont différentes de celles d’une lamentation rituelle, le modèle de la lamentation funèbre est insuffisant pour guider à lui seul l’analyse du contenu d’une lamentation tragique. / Unlike ritual laments, tragic laments take place in a wide range of situations. Some are made over troubles other than an actual death, over events that have not happened yet, or over the mourner himself. This seems to be why we find such a huge diversity of both forms and contents of laments within the tragic corpus. How do the tragic poets modify the traditional form of the lament? Do these changes depend on specific contextual elements? In order to answer these questions, I will examine three laments: Cassandra’s in Aeschylus’ Agamemnon, Creon’s in Sophocles’ Antigone and Polymestor’s in Euripides’ Hecuba. These three passages show major contextual discrepancies, especially when it comes to the identity of the mourner (gender, age, social status, ethnicity) and their relationship to the Chorus. Moreover, they were composed by different authors at different times, which accounts for the evolution of the literary form during the 5th century B.C. These contextual differences allow us to identify specific ties between the context and the lament itself. The form of the actor’s part depends mostly on the mourner’s ethnicity and gender, while the Chorus’ part suits its relationship with the mourner. The stylistics of the lament may also result from the author’s personal preferences or from the date of composition. As for the content, it is heavily determined by the position and the function of the passage within the play. As the functions of a tragic lament differ from those of a ritual lament, the model given by ritual lament cannot serve as the only basis for the analysis of a tragic lament’s content.

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ALVES, Letícia Freitas. A narrativa de Euríbates na tragédia Agamemnon de Sêneca: um diálogo entre gêneros. 2015. 98f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-05T17:09:55Z No. of bitstreams: 1 2015_dis_lfalves.pdf: 524165 bytes, checksum: 4f212df3c165e31d733bb286bc4735ec (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-05T17:11:30Z (GMT) No. of bitstreams: 1 2015_dis_lfalves.pdf: 524165 bytes, checksum: 4f212df3c165e31d733bb286bc4735ec (MD5) / Made available in DSpace on 2016-08-05T17:11:30Z (GMT). No. of bitstreams: 1 2015_dis_lfalves.pdf: 524165 bytes, checksum: 4f212df3c165e31d733bb286bc4735ec (MD5) Previous issue date: 2015 / The play under analysis in this work, Agamemnon, written by Lucius Annaeus Seneca, depicts within its third act a long narrative (v.421-578), which is held by a messenger, Eurybates. Eurybates reports to the Queen of Argos, Clytemnestra, all the mishaps that the Greeks went through on their journey back from the Trojan War. The messenger’s speech is to some extent, due to its narrative-style story and its theme, a grand epic interlude within a tragedy. The existence of such a long epic interlude within a tragedy leads us to some questions: would Seneca be jeopardizing the laws of the tragic genre for building up a bigger epic narrative in this play? To what extent would Seneca take the well-known connection between the tragic and the epic in the Antiquity? Would Eurybates’ speech, once it has an epic nature, make allusion to epic poems and would they be important to the formation of meaning in Agamemnon ? How would a conjectural “epic speech” work in this tragedy? Thus this work proposes a study of Eurybates' speech from the point of view of the dialogue between the tragic and the epic genres and of the dialogue with other works, established, mainly, through allusions. / A peça em análise neste trabalho, Agamemnon de Lúcio Aneu Sêneca, possui, dentro de seu terceiro ato, uma longa parte narrativa (v. 421-578), realizada por um mensageiro, Euríbates. Euríbates narra para a rainha argiva, Clitemnestra, todos os percalços por que passaram os gregos no retorno da guerra de Troia. O discurso do mensageiro constitui, por seu caráter narrativo e sua temática, uma espécie de grande interlúdio épico dentro de uma tragédia, o que nos leva a alguns questionamentos: estaria Sêneca colocando em xeque as leis do gênero trágico ao construir tão grande narrativa épica em sua peça? A que nível levaria Sêneca a já tão conhecida aproximação entre o trágico e o épico na Antiguidade? O discurso de Euríbates, uma vez que possui essa natureza épica, faria alusão a poemas épicos e seriam eles importantes para a formação de sentido no Agamêmnon? Como um suposto “discurso épico” funcionaria nessa tragédia? Guiados por tais questionamentos, propomos neste trabalho um estudo do relato da personagem Euríbates, do ponto de vista do diálogo entre o gênero trágico e o épico e do diálogo com outras obras, estabelecido essencialmente através de alusões.

The musical analysis of Greek tragedy has traditionally been limited to studies of meter and metatheatrical language. This dissertation seeks to establish a new approach to ancient dramatic song by demonstrating that the linguistic pitch accents of tragic lyrics often trace the melodic contours of their lost musical settings. In the papyri and inscriptions that preserve music notation alongside Greek lyrics, intonation and melody are often coordinated according to set principles, which are well established by previous scholarship. Through the creation of software that applies these historical principles to tragic texts, I demonstrate that stanzas sung to the same melody are significantly more similar in their accentual contours than control groups that do not share a melody. In many instances, the accents of these paired texts consistently trace the same pitch contours, allowing us to reconstruct the shape of the original melody with a high degree of confidence.After a general introduction, the dissertation’s first two chapters address the historical basis for this approach. Chapter 1 reviews the evidence for the musical structure of tragic song, confirming the widely held view that paired stanzas were generally set to the same melody. Chapter 2 turns to the evidence for the role of pitch accents in ancient Greek song, including the ancient testimony and musical documents, and a computational study of accent patterns across all the lyrics of Aeschylus’ surviving tragedies. The methodology developed in these first two chapters is applied in two case studies, in which I reconstruct and interpret the accentual melodies of select tragic lyrics. Chapter 3 analyzes the musical design of the chorus’ entrance song in Aeschylus’ Agamemnon, along with sections of the Kommos from Choephori. In both cases, I argue, melody would play an integral role in highlighting the themes of repetition and reversal within the Oresteia. Chapter 4 turns to the music of Euripides’ Medea, a play that has been central to previous discussions of accent in tragic music. Reading the lyrics and accentual melodies within the framework of musical history as understood in the fifth century bce, I argue that Euripides uses a contrast between ‘old’ and ‘new’ melodic styles to position his chorus at a turning point within literary history. In the dissertation’s final chapter, I address the reception of Medea’s music in a fragmentary comedy, the so-called Alphabet Tragedy of Callias. Together, these interpretive chapters provide a template for future work applying methods of musical analysis to the accentual melodies of ancient Greek song.

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Esta tese estuda a adivinhação nas sete tragédias supérstites de Ésquilo entendendo-se a adivinhação não no sentido estrito de revelação de fatos futuros, mas no sentido mais amplo de um diálogo que se estabelece entre as instâncias divina e humana valendo-se de formas e recursos variados. Assim, a análise e interpretação destas tragédias priorizam os diversos aspectos deste diálogo divinatório para mostrar a adivinhação como fundamento da construção de estratégias dramáticas na tragédia esquiliana, por informar e definir tanto a peculiaridade desta poética quanto sua visão do mundo. / This thesis studies divination in the seven surviving tragedies of Aeschylus. Divination is taken here not in the strict sense of revelation of future events, but in the broader sense of a dialogue that is established between divine and human levels through a variety of forms and resources. Thus, the analysis and interpretation of these tragedies prioritises the different aspects of this divinatory dialogue, in order to show that divination is the basis for constructing the dramatic strategies in the tragedies of Aeschylus, since it informs and defines both the particular features of this poetics and its view of the world.

<p>In 2004 <em>Troy</em> was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.</p><p> The main purpose of this paper is to see the connection between <em>Troy</em> and Homer’s <em>The Iliad</em> – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How <em>The Iliad</em> mutates to be a marketable product.</p><p>   I discuss the changes of the plot that were introduced in <em>Troy</em> and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.</p><p>   By approaching <em>Troy</em> and <em>The Iliad</em> as two separate cultural products (I did not view <em>Troy</em><em> </em>as a documentary on <em>The Iliad</em>) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.</p>

In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.  The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product.    I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.    By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.

Esta tese estuda a adivinhação nas sete tragédias supérstites de Ésquilo entendendo-se a adivinhação não no sentido estrito de revelação de fatos futuros, mas no sentido mais amplo de um diálogo que se estabelece entre as instâncias divina e humana valendo-se de formas e recursos variados. Assim, a análise e interpretação destas tragédias priorizam os diversos aspectos deste diálogo divinatório para mostrar a adivinhação como fundamento da construção de estratégias dramáticas na tragédia esquiliana, por informar e definir tanto a peculiaridade desta poética quanto sua visão do mundo. / This thesis studies divination in the seven surviving tragedies of Aeschylus. Divination is taken here not in the strict sense of revelation of future events, but in the broader sense of a dialogue that is established between divine and human levels through a variety of forms and resources. Thus, the analysis and interpretation of these tragedies prioritises the different aspects of this divinatory dialogue, in order to show that divination is the basis for constructing the dramatic strategies in the tragedies of Aeschylus, since it informs and defines both the particular features of this poetics and its view of the world.