Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1 Eliane Rosa de Goes.pdf: 256443 bytes, checksum: 7bd2fe161d4021894ba72ae17f56152f (MD5) Previous issue date: 2011-10-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Study of the novelistic structure of Parábola do Cágado Velho (2005), by Angolan writer Pepetela or Artur Carlos Maurício Pestana dos Santos, who reenacts in his fiction the history of Angola in the universal context. Among the ethnic and linguistic, socio-economic, political and religious disparities raised, the denial of hopeful utopian projections gave place to dystopias reversals. On the basis of the reversal of the utopian gender, the dystopia acts as a non-place and a way of thinking new models in Pepetela s novel, as they are incorporated into the utopian essence of Parábola do Cágado Velho. From the mythical tradition emerges a reading of the narrative plot in the form of a review and dialogue on the relationship between past and present, suggesting historical changes for the future and other so-called meta-utopias. In these, the idea of continuity, taken as a leitmotiv by the author, between the short story and novel close to the anti-epic, prevails in the hybrid fictional text of the parable. The myth provides the first step to this reading of time and differentiation between the sacred and profane space. Rereading from which paradigms have emerged of a critical work with the non-time in non-dissociation with space, conjunction built by an ironic look between fiction and history, (dys) topias about the fictional truth of Parábola do Cágado Velho. The three references derived from this reading receive the following titles in this thesis: the novelistic structure of Parábola do Cágado Velho; place and non-place in defining the narrative- imaginary structure; Pepetela and the mythical symbols in translation (dystopian). In its three faces, utopianism is revealed as a way of thinking founding possibilities of transformations which multiply utopias: structural difference of this Angolan novel / Estudo da estrutura novelesca da Parábola do Cágado Velho (2005), do escritor angolano Pepetela ou Artur Carlos Maurício Pestana dos Santos, que reencena, em sua ficção, a história de Angola no contexto universal. Dentre as disparidades étnicas e lingüísticas, sócio-econômicas, políticas e religiosas levantadas, a negação de projeções esperançosas utópicas deu lugar às inversões das distopias. Na base do reverso do gênero utópico, a distopia atua como um não lugar e modo de pensar novos modelos na novela de Pepetela, uma vez incorporados à essência utópica da parábola do cágado velho. Da tradição mítica emerge uma leitura da trama narrativa em forma de reavaliação e diálogo na relação passado e presente, sugerindo mudanças históricas para o futuro e outras chamadas metautopias. Nestas, prevalece a idéia de continuidade, tomada como leitmotiv pelo autor, no texto ficcional híbrido da parábola, entre o conto e a novela, próximo à anti-epopeia. O mito oferece o primeiro passo para esta leitura do tempo e da diferenciação entre o espaço profano e o sagrado. Releitura da qual emergiram paradigmas de um trabalho crítico com o não-tempo em indissociação com o espaço, conjunção construída por um olhar irônico entre ficção e história, (dis) utopias sobre a verdade ficcional da Parábola do Cágado Velho. As três referências originadas desta leitura recebem a seguinte titulação nesta dissertação: A estrutura novelesca de Parábola do Cágado Velho; lugar e não-lugar na definição da estrutura do imaginário narrativo; Pepetela e os símbolos míticos em tradução (distópica). Em suas três faces, o utopismo é revelado como uma forma de pensar possibilidades fundantes de transformações que multiplicam utopias: diferença estrutural desta novela angolana

This thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil's Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers' desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators' interpretations of Virgil's work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil's poem in a major French literary work. Firstly, Ronsard's Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil's narrative. Ronsard's poem is read in the light of Mapheo Vegio's “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil's narrative and carries it over into a Christian context. Next, Agrippa d'Aubigné's response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan's Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D'Aubigné's inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio's Antoniad. Finally, Guillaume de Salluste du Bartas' combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil's narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.