Made available in DSpace on 2014-06-12T18:28:06Z (GMT). No. of bitstreams: 2 arquivo1722_1.pdf: 2805853 bytes, checksum: 7b1a86a68041cdede14c32724e58982b (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta dissertação tem por objetivo fazer uma análise comparativa entre a Divina Comédia (escrita entre 1307 e 1321), de Dante Alighieri (1265-1321), e o romance Avalovara, de Osman da Costa Lins (1924-1978), publicado em 1973. Tendo constatado que pouco se tem escrito sobre a relação entre a Commedia e Avalovara, resolvemos escrever um estudo de caráter mais amplo, trazendo para o nosso trabalho contribuições feitas e dar a nossa contribuição. Para essa análise, priorizamos a comparação quanto ao tema do Paraíso, visto que tanto a Commedia quanto Avalovara recorrem ao mito bíblico. Mito que retornou com força no século XX, após um processo de saturação com o cientificismo e a industrialização herdeira do século das Luzes, segundo Gilbert Durand, de modo que conforme o escritor e crítico mexicano Carlos Fuentes, a necessidade do mito surgiu, paradoxalmente, das ruínas da cultura que o rejeitou. A influência da Divina Comédia sobre o romance Avalovara foi ressaltada por Osman Lins em várias entrevistas, mas ressalvando que o romance ao seu modo homenageia o poeta italiano. Nesse sentido, o estudo dessas duas obras se fundamentou no comparatismo latino-americano. Reflexões e ensaios de Antonio Candido, Silviano Santiago, Roberto Schwarz, Leyla Perrone-Moisés, Haroldo de Campos e Octavio Paz, por exemplo, foram importantes para entendermos como a releitura da Commedia por Avalovara não se deu passivamente, mas de maneira inovadora, de modo que contribuiu para a renovação do gênero romanesco latino-americano. A comparação entre essas obras ocorreu em dois aspectos: o estético e o identitário. Este se deteve, especialmente, na análise da androginia adâmica para problematizar a híbrida identidade latino-americana, através de Avalovara, visto que Dante não menciona o Adão andrógino. Aquele quanto à estrutura (composição catedrática), personagem (focalizando a Beatriz dantesca e as leituras variantes dela pelas personagens osmanianas, especialmente Roos, Cecília e ) e ao espaço (narrativização do Éden como espaço anímico e globalizante). Nosso ensaio termina com uma discussão sobre uma possível leitura do regionalismo literário na Divina Comédia (fundamentando-se no conceito de regionalismo como tendo seus primórdios na tradição greco-latina); também com uma discussão sobre uma releitura do regionalismo nordestino em Avalovara. Aproveitamos para também fazermos uma revisão de certos postulados da crítica osmaniana

Though it is not certain to what extent Gogol was familiar with Dante, it appears he may have regarded Dead Souls I (1842) as the first part of a tripartite scheme in light of La Divina Commedia. Interestingly, the foundations for such a scheme can be found in Gogol's first major publication, Evenings on a Farm near Dikanka (1831-1832) and, in the prose fiction and plays of 1835-1836, a definite pattern is revealed. The pattern that evolved in the works of this period involves the emergence of a demonic element which shatters any illusion of a Paradise which may have been established previously. Consequently, one is then drawn down through the awakenings of conscience - Purgatory and, finally, to realization in the Inferno. The inversion of the Dante scheme which takes place, results in a "commedia del demonio". This "commedia" is particularly significant for both interpreting Gogol's works and for understanding the author himself. It forms a bridge between Gogol's early comic-gothic tales in Evenings and the mature style and humour of Dead Souls. Equally important is the fact that correlations with the literary devices and the religious thought of Dante's time can also be seen. Such works as "Old World Landowners" (Mirgorod, 1835), "Viy" (Mireorod, 1835), "Nevsky Prospekt" (Arabesques, 1835) and the play The Government Inspector (performed in 1836) are especially representative of Nikolai Gogol's "commedia del demonio", and therefore form an integral part to this study. In connection with these and other works, certain links concerning the literary and historical heritage, and personal spirituality which exist between Gogol and Dante as reflected in both their own life and works will be examined as well. Thus the "commedia" scheme, and ultimately, Gogol as a writer of the human "soul" may be better understood. / Arts, Faculty of / Asian Studies, Department of / Graduate

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The evolution of the State was a process which went through many stages. Analysis of the modern State tends to begin with the Enlightenment; however, Dante Alighieri, Niccolo Machiavelli, and Martin Luther each represented early phases of this evolution. The theories of these men were closely tied to their evaluation of man's nature. Their main objectives were separation of the State from the Church and the definition of the rulers obligations to his subjects. Although humanism influenced all of them to varying degrees, each developed unique views of the State. Elements of these views can be detected in more modern theorists.

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2016 / Alors qu’elle se trouve au Mont Parnasse, la narratrice du Chemin de Long Estude de Christine de Pizan affirme reconnaître l’endroit pour l’avoir déjà lu chez Dante. Cette mention surprend considérant la quasi absence de la Comédie dans la littérature française de la fin du Moyen Âge, et si la tradition critique a eu tendance à y voir la revendication d’un projet mimétique, où le poème de Christine de Pizan serait une tentative d’imitation de la Comédie, les nombreux échos dantesques de l’oeuvre témoignent à l’inverse d’un important travail d’appropriation, en mettant systématiquement l’accent sur l’acquisition du savoir et l’inscription dans une filiation intellectuelle. Plus qu’une recension, le présent mémoire aspire à faire le point sur les présences de la Comédie dans le Chemin de Long Estude de même qu’à inscrire ces dernières dans un réseau. Cela amène non seulement à considérer l’oeuvre de Christine de Pizan dans sa totalité, mais aussi en regard des considérations littéraires de l’époque. Dans le premier cas, les renvois à Dante permettent de réfléchir au projet général de l’oeuvre, alors que le poème italien, plus que de représenter un idéal à reproduire, participe à une conquête de l’ordre par le savoir, aux côtés de la Consolation de Philosophie de Boèce et du Chemin de Long Estude lui-même. Dans le second cas, le fait de fonder le travail d’écriture sur la lecture préalable d’un auteur italien témoigne de la bibliophilie du siècle et de l’importance de la lecture, mais aussi de l’émergence timide de nouvelles autorités vernaculaires. / While she is standing in front of Mount Parnassus, the narrator of the Chemin the Long Estude by Christine de Pizan says she recognizes the place for having already read about it in Dante’s book. This statement is surprising considering the near absence of the Comedy in the French literature of the late Middle Ages. The critical tradition has tended to see it as the claim of a mimetic project, where Christine de Pizan’s poem would be an attempt to imitate the Comedy. But the multiple references to Dante’s work in the French poem bear on the contrary witness to an important work of appropriation, systematically putting the emphasis on the acquisition of knowledge and on being part of an intellectual tradition. More than proposing a census, this thesis wishes to study the various presences of Dante’s Comedy in the Chemin de Long Estude as well as to include them in a network. This leads to considering not only the work of Christine de Pizan in its entirety, but also the literary context of the late Middle Ages. In the first case, the references to Dante inform about the general project of the work, while the Italian poem, more than representing an ideal to imitate, shows how knowledge can bring order, alongside Boethius’s Consolation of Philosophy and the Chemin de Long Estude itself. In the second case, Christine de Pizan’s writing process is highly influenced by the prior reading of the Italian author, which reveals the bibliophilia characteristic of the period and the importance of reading, but also the emergence of new vernacular authorities.

Made available in DSpace on 2015-04-14T13:55:13Z (GMT). No. of bitstreams: 1 438727.pdf: 394071 bytes, checksum: 7dc2ea9a9a883b75da2124dbe74af3a7 (MD5) Previous issue date: 2012-03-27 / This research aims to present the political thinking of Dante Alighieri. It is quite common of us to think that the Florentine poet has only addressed the subjects related to poetry. However, it is necessary to point out that, even prior to becoming a poet, Dante Alighieri is a political philosopher of the Middle Ages. Living within an environment of troubled relations of power, especially between the Church and the Empire, Dante attempts to rationally present theses to solve the problem about who should govern in order to avoid the clash between powers in the Western Christianity. Through this perspective, the sommo poeta formulates a model of government focused on the distinction between powers: spiritual power and temporal power. Furthermore, it focuses on the individuals and in their political engagement the complete fulfillment of mankind, thus devising the concept of optimus homo. Undoubtedly a better man will be the one who participates in the political community, the one who gets involved in the so-called ethical and political issues and who respects the State and the Law / Esta pesquisa tem por objetivo apresentar o pensamento pol?tico de Dante Alighieri. ? muito comum pensarmos que o poeta florentino apenas tratou de quest?es relativas ? poesia. Entretanto, ? necess?rio esclarecermos que, antes mesmo de ser poeta, Dante Alighieri ? um fil?sofo da pol?tica na Idade M?dia. Vivendo num ambiente de conturbadas rela??es de poder, sobretudo entre Igreja e Imp?rio, Dante procura de forma racional apresentar teses para solucionar o problema acerca de quem deveria governar a fim de evitar o embate entre poderes na Cristandade Ocidental. Nesta perspectiva o sommo poeta elabora um modelo de governo centrado na distin??o entre poderes: poder espiritual e poder temporal. Ainda, centra no homem em sua participa??o pol?tica a plena realiza??o do g?nero humano, conferindo assim o conceito de optimus homo. Sem d?vida alguma ser? melhor o homem que participar da comunidade pol?tica, aquele que se envolver com as chamadas quest?es ?tico/pol?ticas e que respeitar o Estado e o Direito

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-03-09T14:14:26Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_InfernoDantescoInferno.pdf: 6151207 bytes, checksum: 12b392b14c648df3c43e146d50013943 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-03-09T14:16:49Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_InfernoDantescoInferno.pdf: 6151207 bytes, checksum: 12b392b14c648df3c43e146d50013943 (MD5) / Made available in DSpace on 2017-03-09T14:16:49Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_InfernoDantescoInferno.pdf: 6151207 bytes, checksum: 12b392b14c648df3c43e146d50013943 (MD5) Previous issue date: 2011-06-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação trata dos parâmetros possíveis entre o Inferno de Dante e a Cibercultura, através dos resultados de uma pesquisa desenvolvida por em três pontos: A Imagem do Infeno, legado da narrativa dantiana expressa ao longo dos séculos por artistas em diferentes estilos, mas dotados de elementos singulares propostos pelo autor florentino. A Cibercultura e seus conceitos: o ciberespaço, a imagem digital, a cultura de convergência e as transformações em curso que essa cultura produz na sociedade. E por último, a fantasia possível entre os conceitos e a imagem do inferno medieval com o mundo contemporâneo, através da atualização dos mesmos presentes no Inferno do projeto de hipernarrativa que se desenvolve tendo como base em tais definições. / This essay is about possible parameters delined between Dante’s Infero and the Cyberculture, thru a research developed in three aspects: Hell’ image, a legacy from dantian narrative and expressed by diferent artists among the centuries, with diferent styles, but wicht adopted the same elements propouseds by the florentian author. The Cyberculture’s concepts, as ciberspace, digital image, convergence culture and the recent transformations in society. At last, the phantasia possible between Medieval Inferno and the contemporary World, beyond the hypernarrative project for those definitions.

Dans L'écriture et l'expérience des limites, Philippe Sollers affirme que Dante représente à la fois le symbole de la reprise de l'antiquité et celui de l'annonce des temps modernes. Outre Sollers, d'autres interprétations historiques comme celle de Jacqueline Risset dans Dante écrivain ont montré que La divine comédie présentait de nombreux avatars quant à ses sources antiques, sa position dans le temps et son influence sur la littérature qui lui succède. Ce mémoire a pour but d'approfondir cette hypothèse en étudiant la nature, le sens et les enjeux de la relation problématique entre Dante et le temps, car elle anticipe selon moi la conception baudelairienne de la modernité, où il s'agit de « tirer l'éternel du transitoire ». Avec La divine comédie, Dante aurait, cinq siècles avant son invention, compris le sens baudelairien du terme « modernité » en exprimant, à la manière de l'auteur des Fleurs du Mal, la beauté qui émane de l'horreur, le sublime camouflé dans « la flore délaissée du Mal et de la Mort » (Claude Roy). Évidemment, il ne s'agit pas de faire le procès de Dante en prouvant qu'il a plagié le « kiosque bizarre » de Baudelaire, mais plutôt, de se soustraire aux obstacles factuels de la linéarité temporelle, le temps d'étudier la Comédie à partir d'une perspective plus moderne. Dans ce mémoire, il s'agit conséquemment de repenser l'œuvre poétique de Dante et son rapport au temps à partir de l'idée de « plagiat par anticipation » élaborée par Pierre Bayard, avec laquelle il est possible d'envisager la littérature comme un réseau qui ne fonctionnerait pas à partir d'une logique causale ou linéaire, mais qui serait plutôt constitué d'un enchevêtrement omnidirectionnel de liens. Du coup, il est possible de penser que Dante a plagié Baudelaire. Et la clé de ce délit se trouve dans le désir qu'a Baudelaire de faire renaître « l'âge d'or » de la poésie dans ses Fleurs du Mal, car pour y arriver, il effectue un saut dans le passé afin de pouvoir s'inspirer des grands poètes de l'antiquité. Mais en agissant de la sorte, Baudelaire s'expose au plagiat par anticipation. Pour écrire la Comédie, Dante retourne vers ce même passé idéalisé et à partir de cette « rencontre » entre les deux poètes, Dante est en mesure d'anticiper les motifs constitutifs de la modernité baudelairienne. Bref, si le plagiat de Dante sur Baudelaire est possible, c'est parce que les deux poètes ont visité les mêmes sources pour créer leurs œuvres respectives. Et si un tel voyage dans le temps est concevable, c'est parce que la Comédie et Les Fleurs du Mal présentent une conception du temps circulaire plutôt que linéaire. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Dante, Baudelaire, modernité poétique, plagiat, temps.

Berlin, Freie Universität, Diss., 2006