Thesis--Paris IV, 1977. / Includes bibliographical references (p. 601-620).

Texte remanié de: Th. doct., 1993. / Bibliogr. p. 309-326. Résumé en français.

Thèse--arts plastiques--Paris--Panthéon-Sorbonne, 1989. / Contient le texte du livret "Arlequin favori de la fortune" (t.2) p. 65-112. Bibliogr.(t.1) p. 236-238 (t.2) p. 377-388.

Made available in DSpace on 2014-06-11T19:32:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2007Bitstream added on 2014-06-13T19:22:23Z : No. of bitstreams: 1 gomes_ac_dr_arafcl.pdf: 528773 bytes, checksum: 3fb21998dac974c421efb0b4e678e87d (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa é uma análise da marca quando, apoiada na Teoria das Operações Enunciativas, de Antoine Culioli, para quem a linguagem é uma atividade de regulação, referenciação e representação do pensamento pelos sujeitos enunciadores. Tal estudo é um exercício que pretende ir além do domínio do imediatamente observável, para tentar descrever os processos de produção (e de reconhecimento) subjacentes a uma seqüência de signos. A marca quando aparece em enunciados com verbos nos tempos presente, passado e futuro. Ela não só torna mais evidente a noção de tempo, como também opera uma (in)determinação no enunciado, influenciando diretamente as categorias de aspecto e de modalidade. Quando ela conecta duas léxis, pode haver a propriedade de voz, verificada na relação de causalidade. Após as análises, pudemos entender que a regulação de um enunciado e da relação semântica entre as léxis que o compõem, não depende só do conector, mas do sentido já imbricado a sua direita e esquerda. A marca quando é usada em variados contextos, sustentada por uma invariante. Ela pode ter valores referenciais denso, compacto ou discreto. Esses valores são aferidos pelas operações de localização, pela determinação ou não da noção, pelo intervalo de tempo, pelo espaço de referência e pela configuração da marca no domínio nocional do tempo. / This research paper is the analyses of the linguistic make when based upon the Enunciative Operations Theory by Antoine Culioli to whom language is an activity of regulation, reference and representation of thought by the enunciator subject. The referred study is an exercise which intends to go further than the promptly observed in order to describe the process of production (and also recognition) beyond a sign sequence. The make when appears in sentences with verbs in the present, past and future tenses. It not only makes evidence of the notion of time but also works as an undetermined term of the enunciation, directly influencing both the aspect and modality. Whether it connects two lexis a voice property may occur verified in the relation of causality. Through the analyses we could understand that the regulation of the enunciate and the semantic aspects between the lexis which form them, depend not only on the connector but also on the meaning already existent on its right or its left. The make when is used in the most varied contexts supported by an invariable word. It may have dense referred values or also compact or discrete ones. Such values are determined by its location, the determination or not of its notion, the interval, the reference space and by the configuration of the make in the notional domain of the time.

Après avoir publié, depuis 1985, une quarantaine d’ouvrages, Antoine Volodine est aujourd’hui reconnu comme l’un des écrivains français contemporains les plus importants. À preuve les nombreuses études qui lui ont été consacrées. Si donc plusieurs traits de son œuvre ont déjà été étudiés, il en est un qui, pourtant fondamental, n’a pas encore été abordé : les textes de l’auteur ne sont jamais signés de son orthonyme, de son nom réel, mais toujours publiés soit sous le nom d’Antoine Volodine — un pseudonyme —, soit sous la signature de plusieurs hétéronymes. Antoine Volodine et ses hétéronymes appartiennent également tous à la communauté des écrivains post-exotiques. Dans la première partie de ma thèse, j’explore les approches théoriques de la pseudonymie et de l’hétéronymie. J’examine ensuite le contenu donné à ces procédés par deux écrivains qui les ont pratiqués, Kierkegaard et Pessoa, puis je fais état des études qui ont analysé ces pratiques. J’ai mobilisé ainsi, parmi les théories du double, celles qui se rattachent plus à une scission qu’à une duplication du moi : théories psychanalytiques (Freud, Lacan) et anthropologiques (Girard). J’ai aussi exploité les notions deleuziennes de « personnage conceptuel » et de « déterritorialisation ». Dans une seconde partie, j’ai analysé quatre romans — Des anges mineurs (Volodine, 1999), Ilia Mouromietz et le rossignol brigand (E. Kronauer, 1999), Les aigles puent (L. Bassmann, 2010) et Onze rêves de suie (M. Draeger, 2010) —, ainsi que Le post-exotisme en dix leçons, leçon onze (1998), ouvrage « collectif » où est ébauchée l’esthétique d’une communauté d’écrivains. Dans le chapitre premier, j’ai repéré les différences présentes dans les œuvres signées par le pseudonyme et les divers hétéronymes afin de dégager les motivations sous-jacentes à cette pluralité d’écriture et les fins que celle-ci sert. Dans le second chapitre, j’ai exploré les ressemblances existant entre ces œuvres pour comprendre les raisons d’être de la communauté d’auteurs post-exotiques.

The grandeur of Terre des hommes lies in the beautiful poetry which Saint-Exupery has suffused into his descriptions of the earth and the universe, and into his reflections upon humanity. He wants to awaken us to the poetry of life. This is one of the main purposes of Terre des hommes and is the role of the author's "vision poétique.” The three chapters of this thesis are studies of Saint-Exupery*s poetic view of life. The first chapter introduces the universe which the author reveals to us in the first half of his book, where he is above all the poet of the earth. The world he depicts is largely a symbolic and spiritual one. Mermoz slowly wends his way through the temple of a storm at sea, following the rays of moonlight which creep in through the rifts in the clouds. And when Saint-Exupery is searching for his friend Guillaumet in the Andes, he flies through a cathedral of snow. These symbols take on a richer meaning, when in his fourth essay Saint-Exupery recalls how he used to land on plateaux of virgin sand on the borders of the Sahara. These plateaux remind him of the columns of a temple, and as he explores their surface, he discovers the presence of small black stones shaped like rain-drops which, he realises, must be meteorites fallen from the heavens. This rain of fire causes Saint-Exupéry's spiritual life to spring up in his soul and leads him to link his destiny with the stars. The peace of the desert where he loves to dwell, the wondrous firmness of the sand he lies upon, contemplating the stars, bring to his mind the memories of his childhood and of all that has been most precious to him in life. The universe is then a cathedral which will lead all men to a discovery of their inmost spiritual resources. The second chapter studies mainly the second half of Terre des hommes in which Saint-Exupery tries to communicate with all men; in this part of his book, he is truly the poet of mankind. He describes two little girls who live in a cottage full of nooks and who are as full of life and as mischievous as two fairy princesses. The miracle of man is fostered and nourished in childhood, whose spirit man must keep alive within himself and so be eager to explore the new possibilities of life. Saint-Exupery has already described the bureaucrat on his way to work, for whom life is nothing but a set of routines, and his old governess whose incredulous ears he loved to shock with his tales of far-away countries. The men like Mermoz and Guillaumet, on the other hand, really keep alive the spirit of their childhood and fulfil their destinies as men in their constant struggle with the unknown as they discover new air-routes over the sea and the mountains. In his sixth and seventh essays, Saint-Exupéry describes life in the desert where men, confronted with themselves, live in a more spiritual world than those who dwell in crowded cities. The Arab chieftains dream of vanquishing their legendary enemy, Bonnafous. The slave, Bark, clings steadfastly to the hope that he may one day live again the life he remembers of shepherd and king of flocks. Saint-Exupery tells us that his three days in the desert with hardly anything to eat or drink brought him to grips with life and revealed the spiritual life which dwells in all men and whose deep springs the challenge of the unknown alone can release. At the end of his book, the author marvels at the human miracle which man can realise by developping the gifts with which the Spirit has endowed him, for the discovery and the nourishment of the spiritual life, of that which will never die, will give true meaning to the lives of men. The third chapter presents a study of the poetic art of Saint-Exupery. The first section studies a passage of his poetic prose from the seventh essay of Terre des hommes, where the author is flying over the desert at nightfall. The earth seems to mingle with the sky. These are two worlds which are merging in Saint-Exupery himself as he wends his way amidst the stars, the worlds of the philosopher and worldly knowledge, and of the poet and divine knowledge. The words are full of music and are proof of Saint-Exupéry's quest for the beauty of the world of the spirit. The images the author uses form the second subject of study. Essentially concrete in nature, they express the way in which Saint-Exupéry battles with the elements as he flies through storms of snow and rain, and fights against the icy desert winds. The snow blowing from the mountain-top is like a scarf around its peak. The winds the author feels in the desert; are as cutting as sabres. But Saint-Exupéry’s imagery also expresses his search for the light of the spirit. The lamp in a farmer’s cottage on the mountain-side for example is a light-house for the pilot. The third section of the chapter concerns the allegories of the desert, the sea, the winds and the stars. The desert symbolises man's need for solitude and meditation, while the sea is the symbol of human life itself, and the winds blowing off the sea, bring to man the taste of its freshness which is the taste of life and freedom. The stars are the symbol of man's highest aspirations and represent the world of the Spirit where all men will find their fulfillment and Joy. The conclusion emphasises the two tendancies of Saint-Exupery's soul which are ever present in Terre des hommes and which unify his "vision poétique." There is on the one hand, his desire to be free and a poet to see and absorb as much of life as possible, and on the other hand, his love of being a part of a team of men, of having a wife he can return to after his wanderings, his love of belonging to the earth. These two tendancies bring unity to Saint-Exupery*s "vision poétique" for, as a pilgrim, a wanderer and a poet, he discovered the beauty of the earth, but it was as one who wants to belong, to linger and to meditate upon life's mysteries, that he set down his thoughts in such a wonderfully poetic way. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

No description available.

Este estudo consiste numa análise da tradução do romance Tistifil Miril Strib, de Rachid Daif, proposta por nós, do árabe ao português brasileiro. Com base no trabalho de Antoine Berman, A Tradução e a Letra, ou o Albergue do Longínquo, selecionaram-se decisões tradutórias que demonstrassem o nosso esforço em realizar uma tradução que levasse em conta o objetivo ético do traduzir, acolhendo o Estrangeiro que reside no texto original. Com essa finalidade, analisou-se a ação de três tendências deformadoras próprias da tradução da prosa literária, que agem sobre os traços mais característicos desse romance; são elas: 1) o empobrecimento quantitativo; 2) a destruição ou a exotização das redes de linguagens vernaculares; e 3) o apagamento das superposições de línguas. Em seguida, avalia-se até que ponto se consegue evitar essas forças deformadoras que afastam a tradução de seu objetivo ético, uma vez que destroem a letra do texto, isto é, a sua forma, em favor da transmissão do sentido. Conclui-se que, embora o tradutor tenha consciência da atuação dessas tendências durante o processo tradutório, esse não consegue se libertar plenamente delas. No entanto, isso não o impede de encontrar soluções que possibilitem a manifestação das estranhezas e das particularidades do texto original na língua de chegada, obedecendo à ética da tradução / The purpose of this study is to analyze the translation, proposed by us, of the novel Tistifil Miril Strib by Rashid Al-Daif, from Arabic into Brazilian Portuguese. Based on the theory proposed by Antoine Berman in his work La traduction et la lettre, ou Lauberge du lointain, we selected some of our translation decisions so as to demonstrate the effort of performing a translation with the ethical goal of hosting the foreigner who inhabits the source text. In order to do so, we analyze the action of three deforming tendencies typical of translating literary prose, which affect the inherent character of this novel. They are as follow: 1) quantitative impoverishment; 2) the destruction of vernacular networks or their exoticization; and 3) the effacement of the superimposition of languages. Then, we consider how well we can neutralize these deforming forces, which keep the translation away from its ethical aim by destroying the text letter, its form, so as to keep the content transmission. To summarize, even though the translator is conscious of how these tendencies work during the translation process, he cannot free himself completely from these forces. However, this does not stop him from finding solutions that enable the manifestation of the strangeness and particularities of the source text, within the target language, according to the ethics of translation

A proposta deste trabalho é analisar os elementos sobrenaturais e mágicos presentes nas narrativas do núcleo fundador das Mil e uma noites e nas histórias inseridas ao livro, no século XVIII, pelo primeiro tradutor dessa obra, o francês Antoine Galland. Ao ter em mãos o manuscrito que, atualmente, é considerado o melhor e o mais antigo das Mil e uma noites, o orientalista francês não somente traduziu o núcleo mais antigo do livro, mas também inseriu novas histórias, algumas das quais, até o momento, não possuem um manuscrito árabe e, por isso, são chamados contos órfãos. Observa-se que tanto nas histórias do núcleo fundador como nas que foram inseridas por Galland os seres sobrenaturais e mágicos apresentam diferentes funções, veiculando valores e concepções socioculturais diferentes. Por isso, propõe-se neste trabalho a identificação, a descrição e a análise da função desses elementos sobrenaturais e mágicos nas narrativas em questão, observando tanto sua importância para o desenvolvimento da intriga como a construção de sentido que tais elementos promovem nos dois ciclos narrativos, elaborados em contextos socioculturais distintos. Com base nas narrativas em que os elementos sobrenaturais e mágicos desempenham um papel preponderante no enredo, delimitou-se para este trabalho um corpus de 23 histórias, o que permitiu observar amplamente as modificações das funções desses elementos nos diferentes textos, bem como os diferentes sentidos que eles constroem nas histórias dos dois ciclos narrativos. / The purpose of this research is to analyze the supernatural and magical elements available in the constitutive narratives of the founding nucleus of the Thousand and One Nights and the tales added to the book in the 18th century by its first translator, Antoine Galland. Since he acquired the manuscript, which is considered currently to be the oldest and the best one, the French orientalist not only translated the oldest collection of tales of the book, but also added new tales whose manuscripts were not found so far, for this reason, they were called \"orphan tales\". Comparing the tales belonging to the oldest collection of the book and the ones written by Galland, we conclude that the supernatural and magical beings play various roles transmitting different moral values and sócio-cultural conceptions. For this reason, we aim to identify, describe and analyze the roles of these elements in the narratives, taking into consideration their importance while generating the intrigue and the way they create meanings along the two narrative cycles built in various sócio-cultural contexts. After selecting the narratives in which the supernatural and magical elements play more influential roles in the storyline, we chose 23 tales as a corpus allowing us to observe clearly the role changes of the elements in each text.

Esta pesquisa investiga o uso da hendíadis em 3 (três) peças de William Shakespeare (1564- 1616): Macbeth (1603-1606), Twelfth Night (1602), Julius Caesar (1599), e como foram traduzidas para o português por Carlos Alberto Nunes (1897-1990), Barbara Heliodora (1923- 2015) e Beatriz Viégas-Faria (1956-). Hendíadis é uma figura de linguagem cuja estrutura utiliza a conjunção e para conectar dois substantivos com cargas semânticas díspares que apresentam uma ideia única e complexa. Frequente na literatura latina e bíblica, é traço distintivo na linguagem de Shakespeare, sendo utilizada por exemplo no famoso solilóquio de Macbeth, ato 5, cena 5: sound and fury. Após compilação do corpus paralelo bilíngue, o material será analisado à luz das teorias da tradução, especificamente as proposições de Antoine Berman (1942-1991) sobre deformações atuantes nas traduções, de modo a entender como um elemento de difícil identificação e compreensão se comporta quando traduzido para o português. A proposta é evidenciar a estrutura na linguagem e organizar análise sobre essa característica na poética do autor, mais especificamente a apropriação e o modo que aplicava estruturas do latim para o inglês e como (e se) ela tem sido entendida nas traduções para o português no Brasil, onde a tradução da obra dramática de Shakespeare ocorre desde 1933. A pesquisa pretende também servir para a compreensão dos preceitos teóricos do campo a Traductologie desenvolvidos por Antoine Berman que incorporam a crítica de traduções. Ao tratar o tema padrão e quebra de padrão esta pesquisa busca entender como o elemento estranho e complexo é interpretado e assimilado, sem deixar de considerar fatores sociolinguísticos e históricos relativos à produção e à recepção dos textos. / This study investigates the use of hendiadys in three (3) plays by William Shakespeare (1564- 1616): Macbeth (1603-1606), Twelfth Night (1602), Julius Caesar (1599), and how they were translated into Portuguese by Carlos Alberto Nunes (1897-1990), Barbara Heliodora (1923- 2015) and Beatriz Viégas-Faria (1956-). Hendiadys is a figure of speech whose structure uses the conjunction and to connect two nouns with different semantic fields presenting a unique and complex idea. Frequent in biblical and Latin literature, they are distinctive in Shakespeares language, being used for example in the famous soliloquy of Macbeth, Act 5, Scene 5: sound and fury. After compiling the bilingual parallel corpus, the material is analyzed using translation theories, specifically the propositions proposed by Antoine Berman (1942-1991) on translation deformations to understand how an element of difficult identification and understanding behaves when translated into Portuguese. The proposal aims to highlight the structure in the language and make an analysis of this feature in the authors poetics, more specifically the appropriation and the mode in which he applied structures from Latin to English and how (and whether) they have been understood in the Portuguese translations in Brazil where translations of Shakespeare\'s plays have been made since 1933. The study also attempts to understand the theoretical guidelines of the field, traductologie, developed by Antoine Berman, which incorporate translation criticism. In dealing with the topic of standard theme and pattern break, the analysis seeks to understand how a strange and complex element is interpreted and assimilated, also considering sociolinguistic and historical factors related to the production and reception of texts.