Made available in DSpace on 2017-07-10T18:55:34Z (GMT). No. of bitstreams: 1 Job.pdf: 3714936 bytes, checksum: 56bd7ac23688d6bed0a9e50c1e4460e7 (MD5) Previous issue date: 2014-02-05 / Poetry and image are sublime ways of seeing the world, they comprehend elevated feelings, and resonate echoes. The poetics of contemporary writer Lília A. Pereira da Silva is the result of a deep surrender to written and visual arts; the author sets in her works the existential dramas, the wounds of time and the anguish of soul. Lília reveals with intense perception and simple sensitivity the man's interior hidden by the social masks, camouflaged by the persona and exposed by the shadow as in Jung's theory (2008). The images of the poet dialogue with emotions, they inhabit the human dwelling, they are like voices in the silence, and do not only express the double, but the triple as Rancière (2013) points out. The theoretical perspectives deal with criticism, sociology, phenomenology and hermeneutics as they consider the study of images subjectively within a constant process of interpretation in which the researcher has an essential role in the dialogue with the object studied. The research includes the analysis of eight poems and eight pictures by Lília Silva that makes up the literary corpus. Thus, the angel and the clown emerge as the main images in Lília s work: in poetry the angelic figure is constituted as a shadow, as the archetypal bearer of happiness and love, like a hero to save the lyrical self from the darkness of suffering. However, this idealization of the beloved/protector is a way that the poetic subject finds in trying to relive the past and believe in a prosperous future, that is, an inherent desire in every individual to hope for a fortunate future. In the pictorial images the clown is presented as an allegory of the melancholic modern man - anguished individual, enraptured by everyday boredom, lonely being facing an individualistic reality and suffering from social ills. "Each reader looks for something in the poem. And not unusually, he finds it: he already carried it inside him" (PAZ, 1982, p. 29). It is understood that when analyzing the angel and the clown two points of view are focused, one external with relation to the work and other internal - to the desires of the interior. / Poesia e imagem são formas sublimes de ver o mundo, comportam sentimentos elevados e ressoam ecos. A poética da escritora contemporânea Lília A. Pereira da Silva é fruto de uma entrega profunda as artes escritas e visuais, a autora configura em suas obras os dramas existenciais, as feridas do tempo e as angustias da alma. Lília revela com percepção e singela sensibilidade o interior do homem escondido pelas máscaras sociais, camuflado pela persona e exposto pela sombra conforme a teoria de Jung (2008). As imagens poéticas dialogam com as emoções, elas habitam a moradia humana, são como vozes no silêncio, e não expressam apenas o duplo, mas o triplo como aponta Rancière (2013). As perspectivas teóricas abordadas são a crítica, a sociológica, fenomenológica e hermenêutica, pois consideram o estudo das imagens uma análise subjetiva dentro de um processo constante de interpretação onde o pesquisador tem função essencial no diálogo com o objeto estudado. A pesquisa compreende a análise de oito poemas e oito imagens de Lília Silva que compõe o corpus literário. Assim, o anjo e o palhaço emergem como as principais imagens poéticas na obra liliana: na poesia o ser angelical se constitui como uma sombra, como o arquétipo portador da felicidade e do amor, como um herói a salvar o eu lírico das trevas do sofrimento. Essa idealização do ser amado/protetor é uma forma que o eu poético encontra de tentar reviver o passado e acreditar num futuro próspero. O palhaço se apresenta como uma alegoria do homem melancólico sujeito angustiado, arrebatado pelo tédio cotidiano. Um ser solitário diante de uma realidade individualista e sofredor das mazelas sociais. Assim, ―Cada leitor procura algo no poema. E não insólito que o encontre: já o trazia dentro de si‖ (PAZ, 1982, p. 29). Compreende-se, que ao interpretar o anjo e o palhaço passa a se voltar para duas óticas: uma externa em relação à obra e a outra interna para os anseios do interior.

Made available in DSpace on 2017-07-10T18:55:38Z (GMT). No. of bitstreams: 1 Job Lopes.pdf: 3714936 bytes, checksum: 47771779f952ff7a91f197bf463031bd (MD5) Previous issue date: 2014-02-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Poetry and image are sublime ways of seeing the world, they comprehend elevated feelings, and resonate echoes. The poetics of contemporary writer Lília A. Pereira da Silva is the result of a deep surrender to written and visual arts; the author sets in her works the existential dramas, the wounds of time and the anguish of soul. Lília reveals with intense perception and simple sensitivity the man's interior hidden by the social masks, camouflaged by the persona and exposed by the shadow as in Jung's theory (2008). The images of the poet dialogue with emotions, they inhabit the human dwelling, they are like voices in the silence, and do not only express the double, but the triple as Rancière (2013) points out. The theoretical perspectives deal with criticism, sociology, phenomenology and hermeneutics as they consider the study of images subjectively within a constant process of interpretation in which the researcher has an essential role in the dialogue with the object studied. The research includes the analysis of eight poems and eight pictures by Lília Silva that makes up the literary corpus. Thus, the angel and the clown emerge as the main images in Lília s work: in poetry the angelic figure is constituted as a shadow, as the archetypal bearer of happiness and love, like a hero to save the lyrical self from the darkness of suffering. However, this idealization of the beloved/protector is a way that the poetic subject finds in trying to relive the past and believe in a prosperous future, that is, an inherent desire in every individual to hope for a fortunate future. In the pictorial images the clown is presented as an allegory of the melancholic modern man - anguished individual, enraptured by everyday boredom, lonely being facing an individualistic reality and suffering from social ills. "Each reader looks for something in the poem. And not unusually, he finds it: he already carried it inside him" (PAZ, 1982, p. 29). It is understood that when analyzing the angel and the clown two points of view are focused, one external with relation to the work and other internal - to the desires of the interior / Poesia e imagem são formas sublimes de ver o mundo, comportam sentimentos elevados e ressoam ecos. A poética da escritora contemporânea Lília A. Pereira da Silva é fruto de uma entrega profunda as artes escritas e visuais, a autora configura em suas obras os dramas existenciais, as feridas do tempo e as angustias da alma. Lília revela com percepção e singela sensibilidade o interior do homem escondido pelas máscaras sociais, camuflado pela persona e exposto pela sombra conforme a teoria de Jung (2008). As imagens poéticas dialogam com as emoções, elas habitam a moradia humana, são como vozes no silêncio, e não expressam apenas o duplo, mas o triplo como aponta Rancière (2013). As perspectivas teóricas abordadas são a crítica, a sociológica, fenomenológica e hermenêutica, pois consideram o estudo das imagens uma análise subjetiva dentro de um processo constante de interpretação onde o pesquisador tem função essencial no diálogo com o objeto estudado. A pesquisa compreende a análise de oito poemas e oito imagens de Lília Silva que compõe o corpus literário. Assim, o anjo e o palhaço emergem como as principais imagens poéticas na obra liliana: na poesia o ser angelical se constitui como uma sombra, como o arquétipo portador da felicidade e do amor, como um herói a salvar o eu lírico das trevas do sofrimento. Essa idealização do ser amado/protetor é uma forma que o eu poético encontra de tentar reviver o passado e acreditar num futuro próspero. O palhaço se apresenta como uma alegoria do homem melancólico sujeito angustiado, arrebatado pelo tédio cotidiano. Um ser solitário diante de uma realidade individualista e sofredor das mazelas sociais. Assim, ―Cada leitor procura algo no poema. E não insólito que o encontre: já o trazia dentro de si‖ (PAZ, 1982, p. 29). Compreende-se, que ao interpretar o anjo e o palhaço passa a se voltar para duas óticas: uma externa em relação à obra e a outra interna para os anseios do interior

O objeto da presente pesquisa é a abordagem estética e pedagógica do Teatro de Figuras Alegóricas, na encenação Chamas na Penugem, sob a coordenação da Profa. Dra. Ingrid Dormien Koudela com alunos do curso de Licenciatura de Teatro. Identifica-se, neste projeto, a concepção da encenação como prática pedagógica e o seu cerne está nas relações existentes entre a criação artística, a pedagogia do teatro e o artista-docente. As proposições do presente trabalho englobam procedimentos referentes ao jogo teatral, à leitura de imagens e aos processos colaborativos. No que tange à leitura da imagem, são analisados os fundamentos estéticos da didática alegórico-diabólica de Peter Brueghel, o Velho relacionados à descrição de uma série de gravuras intituladas Os Sete Vícios Capitais. / The purpose of the present research is the pedagogic and aesthetic approach of the Theather of Allegorical Figures in the staging of Chamas na Penugem (Flames on down), under the coordination of the PhD Professor Ingrid Dormien Koudela with students of the Theater Degree Course. It can be noticed in this project the conception of staging as a pedagogic practice, and its essential part is in the existing relationship between the artistic creation, the theater pedagogy and the artist-teacher. The propositions of the present paper gather procedures referring to the theater game, the image reading and the collaborative processes. Particularly related to the image reading, is the aesthetic foundations of the diabolic-allegorical didactics of Peter Brueghel, the Elder, related to the description of a set of pictures called The Seven Deadly Sins.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-01-03T13:05:01Z No. of bitstreams: 1 bernardmartonimansurcorreadacosta.pdf: 12029514 bytes, checksum: 07c3680d8e96f6407be98ef1e57531f5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-02T11:41:59Z (GMT) No. of bitstreams: 1 bernardmartonimansurcorreadacosta.pdf: 12029514 bytes, checksum: 07c3680d8e96f6407be98ef1e57531f5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-02T11:42:09Z (GMT) No. of bitstreams: 1 bernardmartonimansurcorreadacosta.pdf: 12029514 bytes, checksum: 07c3680d8e96f6407be98ef1e57531f5 (MD5) / Made available in DSpace on 2017-02-02T11:42:09Z (GMT). No. of bitstreams: 1 bernardmartonimansurcorreadacosta.pdf: 12029514 bytes, checksum: 07c3680d8e96f6407be98ef1e57531f5 (MD5) Previous issue date: 2016-09-01 / Este trabalho se debruça sobre a história em quadrinhos Maus: a história de um sobrevivente, de Art Spiegelman, buscando com esse olhar entender o código imagético adotado pelo autor na construção narrativa de seu romance gráfico. Partindo de questões mais amplas, como o histórico desse meio narrativo e sua linguagem, a presente análise contextualiza a obra dentro do universo das comics para, em seguida, aprofundar-se nas especificidades de sua construção narrativa, em particular as escolhas visuais adotadas por Spiegelman. Em uma tentativa de ampliar as possibilidades interpretativas da obra, aplicamos o conceito benjaminiano de alegoria como chave para o entendimento da representação dos judeus como ratos e seu processo de construção. Desse modo, espera-se compreender um pouco mais sobre a peculiar linguagem dos quadrinhos, em particular os recursos e processos narrativos presentes em Maus. / This essay focuses on the comic strip Maus, a survivor’s tale, by Art Spiegelman, through this scope we seek to understand the image code adopted by the author in the narrative construction of his graphic novel. Starting from broader issues, such as the history of this narrative medium and its language, this analysis contextualizes Maus within the universe of comics. After that, delves into the specifics of their narrative construction, specially the visual choices adopted by Spiegelman. In an attempt to expand the interpretive possibilities of the book, we applied Walter Benjamin’s concept of allegory as a way to understand the representation of Jews as mice and its construction process. Thus, it is expected to understand a little more about the peculiar language of comics, specially the resources and narratives processes presented in Maus.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-07-17T18:47:12Z No. of bitstreams: 1 mayaramoratoripeixoto.pdf: 1455310 bytes, checksum: 31c9ce3b632fcb099088c117d52f210c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-25T15:18:06Z (GMT) No. of bitstreams: 1 mayaramoratoripeixoto.pdf: 1455310 bytes, checksum: 31c9ce3b632fcb099088c117d52f210c (MD5) / Made available in DSpace on 2018-07-25T15:18:06Z (GMT). No. of bitstreams: 1 mayaramoratoripeixoto.pdf: 1455310 bytes, checksum: 31c9ce3b632fcb099088c117d52f210c (MD5) Previous issue date: 2018-04-18 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação pretende versar a respeito da leitura metaficcional do romance A Rainha dos Cárceres da Grécia (2005), do autor pernambucano Osman Lins. Teoricamente, pautamo-nos na descrição de Linda Hutcheon (2013), no livro Narcissistic Narrative: the metafictional paradox, a respeito de como a teoria mimética aristotélica pode ser lida nos romances ditos “contemporâneos” (discussão feita a partir de Agamben (2009)). Sustentamos o argumento de que a ausência, um híbrido entre tudo aquilo que não é representável e todas as suas tentativas de representação, é a motivação essencial de cada um dos narradores que A Rainha dos Cárceres da Grécia possui. Evocamos Henri Lefebvre (1983) para discutir brevemente sobre a teoria das representações; no campo temático, analisamos o caráter melancólico da criação que se pauta na ausência, bem como a angústia daqueles que enfrentam seus labirintos internos (SONTAG, 2017). No plano da estrutura romanesca, buscamos investigar as interpenetrações entre os eixos teórico, temático e estrutural no fenômeno que chamamos de “projeção alegórica”, que ocorre entre os personagens dos diversos níveis narrativos. Para tanto, recorremos à teoria sobre alegoria, presente na Origem do drama trágico alemão, de Walter Benjamin (2016). Buscamos investigar, também, aqueles que podem ser considerados os “mitos fundadores”, porque oferecem amplo material simbólico para a estruturação da verossimilhança de cada um dos níveis intercruzados do romance. Discutimos, especificamente, os mitos que podem ser considerados, segundo Eliade (1986), fundadores da presença de um tempo primevo, bem como trazem consigo o arquétipo da Memória – um dos mitos fundamentais do romance. O outro mito que se buscou analisar é a personagem Ana da Grécia, heroína da saga primordial que acontece nos “Cárceres da Grécia”, e que deriva a saga heroica de todos os outros protagonistas dos diversos níveis do romance. / This dissertation aims to deal with the metafictional reading of the novel A Rainha dos Cárceres da Grécia (2005) [The Queen of the Prisons of Greece], by Brazilian author Osman Lins. Theoretically, we refer to Linda Hutcheon’s (2013) description in Narcissistic Narrative: the metafictional paradox, on how Aristotle's mimesis theory can be read in so-called “contemporary” novels (a discussion from Agamben (2009)). We sustain the argument that absence, a hybrid between all that is not representable and all its attempts at said representation, is the essential motivation for each of the narrators in A Rainha dos Cárceres da Grécia. Henri Lefebvre (1983) is evoked to briefly discuss the theory of representations; concerning the theme, the melancholic nature of a creation founded on absence, as well as the anguish of those who face their internal labyrinths (SONTAG, 2017) also come to light. In regard to the romanesque structure, we aim to investigate the interpenetrations between theoretical, thematic and structural axes, in a phenomenon we call “allegorical projection”, which occurs among the characters through the several narrative levels. To do so, we turn to the theory on allegory, present in The Origin of the German tragic drama, by Walter Benjamin (2016). It is also important to explore the termed “founding myths” because they offer ample symbolic material for structuring the verisimilitude of each of the interlocking levels of the novel; specifically, myths that can be considered, according to Eliade (1986), founders of the presence of a primeval time, as well as bring with them the archetype of Memory – one of the fundamental myths in the novel. The other myth analyzed in the present work is the character Ana da Grécia, the hero of the primordial saga that happens in the “Prisons of Greece”, and that derives the heroic saga of all the other protagonists along the several levels of the novel.

Orientador: Antonio Alcir Bernárdez Pécora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T21:49:59Z (GMT). No. of bitstreams: 1 AdrianoFilho_Jose_D.pdf: 1483879 bytes, checksum: 1c475d3bebe19bce85cae920677ad45d (MD5) Previous issue date: 2013 / Resumo: "Combate ao mundo e conquista do paraíso: ficção e alegoria no Compêndio Narrativo do Peregrino da América" têm por objetivo o estudo do ficcional e do alegórico do Compêndio Narrativo do Peregrino da América, em que tratão vários discursos espirituais, e moraes com muitas advertências, e documentos contras os abusos, que se achão introduzidos pela malicia diabólica no Estado do Brasil, escrito por Nuno Marques Pereira, e publicado pela primeira vez em 1728. O livro narra a viagem de um Peregrino da Bahia às Minas de Ouro, e o tema da peregrinação justifica o relato da viagem ao longo da qual o Peregrino se vê diante de espaços e personagens fictícios que são objeto de moralização e servem de pretexto para explicar a doutrina cristã. Sua ideia central é o tema do homo viator, isto é, o ser humano está na terra apenas em peregrinação para o céu, sua verdadeira morada. Esta concepção está também ligada a uma consciência de crise, traduzida na visão do mundo como local desordenado e perigoso, no qual, aquele nele viaja, procura encontrar uma saída para o desconcerto reinante na terra. O Peregrino, em grande luta contra as tentações do mundo, segue adiante o seu caminho guiado pela fé e pela graça de Deus, transformando-se num símbolo de persistência e de vitória da vontade sobre as forças do mal. A narrativa é instrumento de demonstração de ideias e meio de exemplificação de doutrinas com uma função persuasiva clara: o autor recorre às auctoritates, a exemplos retirados da experiência cotidiana do século XVIII, além de adequar as alegorias e exemplos ao diálogo, com o objetivo de atrair os infiéis e pecadores que viviam na Colônia para a doutrina católica, fazendo-os renunciar aos maus costumes e levá-los a alcançar à pátria celestial. O livro deve ser lido tendo como pano de fundo as repercussões que o movimento da Contrarreforma e os ecos do Concílio de Trento tiveram em nível da produção artística no mundo católico, e as intenções pedagógico-didáticas subjacentes à sua composição está fundamentado na crença de que a arte poderia constituir um eficaz instrumento de reconversão dos fiéis e de doutrinamento nos valores da fé católica: docere, movere, delectare, visados pela obra de arte deste período, são também os objetivos que o Peregrino da América almeja alcançar / Abstract: "Combating the World and Conquering Paradise: Fiction and Allegory in the Pilgrim of America]" seeks to investigate the fictional and allegorical nature of the Compêndio Narrativo do Peregrino da América, em que tratão vários discursos espirituais, e moraes com muitas advertencias, e documentos contras os abusos, que se achão introduzidos pela malicia diabolica no Estado do Brasil [A Narrative Compendium of the Pilgrim of America, in which are addressed a sundry of spiritual and moral discourses, with a number of admonitions and documents against the abuses which have been introduced by the devilish evil into the State of Brazil], written by Nuno Marques Pereira, and first published in 1728. The book narrates the travel of a Pilgrim from Bahia to the Golden Mines; and the pilgrimage topic underlies the account of the trip during which the Pilgrim is faced with fictional spaces and characters, used for moralizing purposes and which serve as grounds for explaining the Christian doctrine. Its pivotal idea is the theme of homo viator, which means human beings are on Earth basically as pilgrims towards Heaven, their real abode. Such concept is also linked to a consciousness of crisis, which translates into a view of the world as a disorderly and perilous place, in which those who travel through attempt to find a way out of the reigning disarray on Earth. The Pilgrim faces fierce struggles against worldly temptations, and forges ahead on his path guided by Faith and the grace of God; and he turns into a symbol of persistence and victory of will against the powers of Evil. The narrative is an instrument to demonstrate ideas and a means to exemplify doctrines with a clear persuasive function: the author refers to the auctoritates, to examples drawn from the everyday experiences of the 18th century, and also adapts allegories and exempla to the dialogues with the intent of luring infidels and sinners living in the Colony into the Catholic doctrine, steering them away from bad practices and leading them to the heavenly country. When reading this book one must bear in mind the aftermath of the Counter Reformation movement and the echoes from the Council of Trent; and the repercussions they had on the artistic production in the Catholic world; and that the pedagogical-didactic intents underlying its making are grounded on the belief that art could be an effective tool for reconverting the faithful and for indoctrination in the values of the Catholic faith: docere, movere, delectare, aimed by art works of that period, are also the objectives the Pilgrim of America seeks to achieve / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Le vieux différend entre le philosophe et le poète, entre logos et mythos, peut être converti en accord à condition de changer de point de vue. Alors que Platon n’a voulu voir dans leurs différences qu’une source de discorde et de division, Aristote en a tiré une poétique et une rhétorique, les poètes de la Renaissance une philosophie poétique et Vico une anthropologie du langage et une archéologie de la pensée. Ce qui est pour les modernes une « pensée sauvage » a longtemps été considéré par les anciens comme une sagesse archaïque, qui s’exprimait par figures et « traduisait en langue des dieux » les voix de la nature.On se propose ici de réévaluer les notions de pensée poétique et de pensée mythique en adoptantle point de vue des poètes de la Renaissance et de l’âge baroque, qui identifièrent l’une et l’autre à la pensée ingénieuse productrice de métaphores, de figures et de fictions. Mais il faut remonter aux sources antiques pour pouvoir rendre compte de l’active polysémie des anciennes méthodes d’interprétation des mythes qui, loin de séparer les points de vue de la physique, de la morale et de la théologie, les associaient en une « science poétique » qui faisait la synthèse de tous les savoirs du monde, et qui est désormais une science fossile. / The old dispute between the Philosopher and the Poet, which leads to the dichotomy betweenLogos and Mythos, can be turned into a settlement as long as one changes one’s viewpoint. WhilePlato only considered their difference as a source of discord and division, Aristotle drew from it aPoetic and a Rhetoric, the Renaissance poets a Poetical Philosophy, and Vico a language’sAnthropology and an Archeology of the Thought. What is considered by the Moderns to be a « wildthinking » was seen by the Ancients as an archaic wisdom, expressed through figures and« translating the voices of nature into the language of gods ».The purpose here is to reassess the concepts of Poetic and Mythic thought by adopting theviewpoint of the poets of the Renaissance and the Baroque era. Those cleary identified these twospecific thinkings with the wit’s power to produce metaphors, figures and fictions. In order to achievethis research, it is important to revisit the antic sources, so as to enlight the effective polysemysupporting the ancient ways used to interpret myths. Far from categorising the stance of the physics,the morals and the theology, the Ancients used to gather them into a comprehensive « poeticscience » : it reunited the synthesis of all knowledge but has become a fossilised science

This diploma thesis is concerned with the use of symbolism in three selected novels by William Golding, Pincher Martin, The Spire and The Double Tongue. The theoretical part presents a brief biography of the writer and outlines theoretical background of literary symbolism, focusing especially on Northrop Frye's Theory of Symbols and the psychoanalytic perspective. It is concluded by listing sources of inspiration behind the selected Golding's works, taking his own experiences as well as literary influences into account. The practical part begins with characterization of Golding's use of symbols in general, including his methods, recurring topics and symbolic patterns. Its main part focuses individually on the three chosen books, in the order of their publication. Each section analyses symbolism of setting of the story and the protagonists' names, symbolic imagery, and it seeks for Christian and psychoanalytic symbols. In addition, it presents possible interpretations of other significant symbols occurring in the particular novel. The use of symbolism is put in context with outer influences to show the variety of topics and specificity of the author's style.

Lina Axelsson Berg (2017). Bambi – en komparativ analys av Felix Saltens bok och Walt Disneys film. (Bambi – a comparative analysis of Felix Salten’s book and Walt Disney’s film). Independent project, Swedish, Specialization in Grades 4-6, Advanced Course, 15 credits. School of Humanities, Education and Social Sciences. The aim of this study is to examine the changes that have occurred when Saltens novel Bambi was adapted to Disney’s Bambi. The specific elements that are examined are the scenes, some of the characters and the environment. This has been done through a comparative analysis. The results shows that the changes that has been done when Disney adapted Bambi is fairly small but the (for some) underlying meaning of Saltens Bambi, that it can be read as an allegory, is gone. There has been a change of characters, for Disney has chosen to ignore a couple of the significant characters in Salten and choose to add a couple of new characters which is a reason to why the underlying meaning of the story has changed. The study also examines if and how the story of Bambi (mostly Saltens) can be used in school subjects, primary when working with human values and how human treat animals. The result shows that the story can be used for that purpose but that the pedagogy who chooses to use is have to see to their own students and how they would react to a story like Saltens.

La notion de personnage est problématique dans le contexte de l’épopée antique, en particulier pour les dieux et pour le héros virgilien, Énée. Réhabiliter cette notion afin de mieux cerner le personnage épique et, avec lui, le Lecteur Modèle de l’épopée, nécessite donc une étude de la terminologie. La première partie s’attache ainsi à définir les critères et les limites à donner à l’effet-personnage dans l’Énéide en envisageant notamment la tradition d’interprétation allégorique des dieux. Les deux parties suivantes sont centrées chacune sur un personnage et l’on y examine les rapports qui s’établissent entre narrateur, personnage et lecteur en partant du postulat selon lequel le narrateur, en tant que relais d’une identification primaire, apparaît comme un guide dans la réception du personnage. Énée, parce qu’il est l’élu du destin, se voit parfois dénier le titre de personnage ; par sa nature de demi-dieu, il se situe en outre à la croisée des deux mondes, humain et divin. La déesse Junon offre l’occasion d’appliquer les principes définis dans la première partie pour l’attribution du statut de personnage aux dieux ; en outre, c’est son action qui constitue la matière de l’action racontée et confère son rythme au récit. / The litterary concept of character considered in the context of Ancient Epic is a source of controversial, especially for the gods and Vergil’s hero, Aeneas. Reconsidering this notion, in order to figure out more clearly the epic character and the epic « Model Reader », requires a close study of the terminology. The first part of this thesis tries to determine the criteria defining the « character-effect » in the Aeneid and the limits of this notion, surveying, among others, the allegoric traditions about the gods in Ancient Epic. Each of the two following parts focuses on a single character and analyses of the relationship between the narrator, the character and the reader, starting from the premise that the reader identifies primarily with the narrator, who will guide him in his reception of the characters. To Aeneas, as the Elected of fate, the title of character is sometimes denied ; as a demi-god, he stands at the intersection of the divine and the human worlds. A study of Juno then brings the opportunity to assess the principles defined in the first part about the gods and their status as characters of the epic ; moreover, Juno’s actions supply the narrative material, and contribute to define its tempo.