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Thesis (doctoral)--Universität Tübingen. / Includes bibliographical references (p. 265-283).

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Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-06-19Bitstream added on 2014-06-13T19:21:20Z : No. of bitstreams: 1 domingos_n_dr_arafcl.pdf: 989975 bytes, checksum: 07dec6de41bf3aefa65a7ba9ad604e9a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa tem o objetivo de apresentar a tradução crítica de alguns contos da obra Contes cruels (1883) de Villiers de l’Isle-Adam (1838-1889). Os textos selecionados compreendem os contos “Véra”, “L’Intersigne” e “Souvenirs occultes” que estão traduzidos para o português em duas edições (VILLIERS DE L’ISLE_ADAM, 1971, 1987) e cujas análises foram desenvolvidas na dissertação de mestrado – “O universo simbólico em Contes cruels de Villiers de l’Isle-Adam” (DOMINGOS, 2004); e, visando um dos objetivos específicos da tese, ou seja, a tradução de alguns textos da coletânea, em sua maioria inéditos em língua portuguesa, os contos: “Vox Populi”, “Fleurs de ténèbres”, “La Machine à Gloire”, “Sentimentalisme”, “A s’y méprendre” e “L’Inconnue”. A definição dos contos está, ainda, fundamentada nos pilares mais significativos da obra villieriana, a saber: a prosa poética, a narrativa fantástica e o discurso irônico. As análises efetuadas no decorrer desta pesquisa indicaram caminhos para refletir, no processo tradutório, sobre as especificidades dos procedimentos narrativos, discursivos e poéticos empregados pelo autor. Foi possível destacar procedimentos estilísticos riquíssimos do discurso villieriano que concernem, sobretudo, à concentração característica do conto e da prosa poética e à ironia. Foi importante que tais procedimentos tenham sido bem caracterizados visto que este estudo, ao debruçar-se sobre a tradução de um texto literário poético, apóia-se em pressupostos da teoria e crítica da tradução, bem como da crítica literária, que entendem que existem diferenças entre traduzir e interpretar, que o tradutor deve encontrar maneiras adequadas de traduzir, de modo a satisfazer os critérios de manutenção do efeito produzido pelo texto de partida, na língua de chegada... / The objective of this study is to present a critical translation of some short histories from the book Contes cruels (1883) by Villiers de l’Isle-Adam (1838-1889). The texts chosen are divided into two groups: the first is composed by the short histories “Véra”, “L’Intersigne” and “Souvenirs occultes”, translated into Portuguese in two editions (VILLIERS DE L’ISLE_ADAM, 1971, 1987) and whose analyses were developed in the Master Dissertation – “O universo simbólico em Contes cruels de Villiers de l’Isle-Adam” (DOMINGOS, 2004); the second group was chosen considering one of the specific objectives in this thesis, that is, the translation of some short stories that had never been translated into Portuguese: “Vox Populi”, “Fleurs de ténèbres”, “La Machine à Gloire”, “Sentimentalisme”, “A s’y méprendre” and “L’Inconnue”. In this research, the analyses pointed to ways of reflecting about the translation process which involves specific, discursive, poetic narrative procedures used by the author. It was possible to highlight some stylistic procedures found in Villiers’ discourse, which are extremely productive and are especially concerned with the condensed characteristic of the short story, its poetic prose and irony. It was very important to characterize those procedures because this study, devoted to the translation of a poetic literary text, is based on the assumptions of the translation theory and criticism, as well as on the literary criticism. These studies show differences between the act of translating and that of interpreting, and the translator should find adequate forms of translation as a way to fulfill the criterion that involves the production of the same effect, found in the departure text, in the target text. In general, the proposed critical edition is intended to present illuminating notes about... (Complete abstract click electronic access below)

Made available in DSpace on 2014-06-11T19:32:44Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-05-29Bitstream added on 2014-06-13T20:43:51Z : No. of bitstreams: 1 anselmo_bm_dr_arafcl.pdf: 2954691 bytes, checksum: fcf6f01748b6ab22dabf67e454cf70c0 (MD5) / Cette thèse vise à tracer les lignes principales d'une image représentative de la pertinence du thème de l'amour décadent dans les oeuvres dramatiques de la fin du XIX siècle et du début du XXe siècle, à partir de la localisation des éléments caractéristiques de l'expression de l'amour par les poète-dramaturges qui en quelque sorte ont été liés à la littérature symbolistedécadentiste. Pour cela, on prend comme point de départ l’analyse du drame lyrique Axël (1986), du poète et dramaturge français Comte de Villiers de L'Isle-Adam (1840-1889), qui a marqué la littérature moderne avec le personnage emblématique Axël d’Auërsperg, le prince des décadents, connu pour avoir rejeté non seulement la vie, mais aussi les plaisirs de l'amour en faveur de l’Absolu et de l’Amour Éternel. Villiers de l'Isle-Adam partage avec les poètes symbolistes-décadentistes le sentiment de mépris pour les valeurs bourgeoises de la société moderne. D’un regard critique et avec l'amertume du poète maudit, ce Français, contrairement à la tendance romanesque réaliste-naturaliste, a imprimé dans l'amour tragique de Sara et d’Axël l’expression du désir de l'Amour Idéal: un sentiment sublime, éloigné des intérêts socio-économiques de leur temps. Pas même la belle et séduisante Ève Sara a réussi à persuader le jeune prince de se réjouir des plaisirs de la vie réelle. La décision d’Axël de quitter la vie et ses plaisirs et de ne pas consommer l'amour charnel est consciente et prouve son incapacité d'adaptation à la réalité qui l'entoure. Une autre oeuvre littéraire, aussi importante par rapport à l'expression du sentiment amoureux dans la littérature symbolistedécadentiste, est la pièce Pelléas et Mélisande (1904) du poète dramatique belge Maurice Maeterlinck (1862-1949), un adepte de l’écriture de....(Résumé complet accès életronique ci-dessous) / Esta tese pretende traçar as linhas principais de um quadro representativo da relevância do tema do amour décadent em obras dramáticas do fin-de-siècle, a partir do rastreamento de elementos característicos da expressão do amor em poetas-dramaturgos que, de alguma forma, estiveram vinculados à literatura simbolista-decadentista. Para isso, toma-se como ponto de partida a análise do drama lírico Axël (1986), do poeta-dramaturgo francês Conde de Villiers de L’Isle- Adam (1840-1889), que marcou a literatura moderna com a emblemática personagem Axël de Auërsperg, o príncipe dos decadentes, conhecido por rejeitar não só a vida real, mas também os prazeres do amor em favor do Absoluto e do Amor Eterno. Villiers de L’Isle-Adam partilha com os poetas simbolistas-decadentistas o sentimento de desprezo dos valores burgueses da sociedade moderna. Foi com o olhar crítico e com a amargura do poeta maldito que esse francês, contrariando a tendência romanesca realista-naturalista de histórias de amor bem sucedidas, imprimiu ao amor trágico entre Sara e Axël a expressão do desejo do Amor Ideal: um sentimento sublime, distante da vulgarização dos interesses sócio-econômicos de sua época. Nem mesmo a bela e atraente Ève Sara foi capaz de persuadir o jovem príncipe a regozijar-se com os prazeres da vida real. A decisão de Axël de deixar a vida e seus prazeres e de não consumar o amor carnal é consciente e prova a sua impossibilidade de se adequar à vil realidade circundante. Outra obra, também importante no que concerne à expressão do sentimento amoroso na literatura simbolista-decadentista, é a peça Pélleas et Mélisande (1904) do poeta dramático belga, Maurice Maeterlinck (1862-1949), seguidor dos passos de Villiers de L’Isle- Adam. Essa obra, apesar de aparentar um certo apego à tradicional temática trágico-amorosa romântica,... / This thesis intends to sketch the outlines of a representative picture of the relevance of the theme amour décadente (decadent love) in plays of the fin-de-siécle and beginning of the 20th century. It starts by tracing the elements that are characteristic of the expression of love in poet-playwrights who were, somehow, tied to the decadent symbolist literature. In order to achieve its aim, this project departs from the analysis of the lyric drama Axël (1986), by the French poet-playwright Conde de Villiers de L’Isle-Adam (1840-1889), which marked modern literature with its emblematic character Axël de Auërsperg, the prince of the decadents, known for rejecting not only social life, but also the pleasures of love in favor of the Absolute and the Eternal Love. Villiers de L’Isle-Adam shares with the decadentsymbolist poets the feeling of contempt for all the bourgeois values of modern society. It was with his accursed poet’s bitterness and critical eye that, against the realist-naturalist Romanesque tendency of successful love stories, this Frenchman inscribed the tragic love between Sara and Axël with the expression of desire for the Ideal Love: a sublime feeling, away from the trivialization of social and economic interests of his time. Not even the beautiful and attractive young lady Ève Sara was able to persuade the young prince to derive pleasure from the joys of real life. Axël’s decision to give up social life and its pleasures and not to consummate carnal love is conscious and it proves that it’s impossible for him to fit the vile reality surrounding him. Another work which is important regarding the expression of love in the decadent-symbolist literature is the drama Pélleas et Mélisande (1904), by the Belgian dramatic poet Maurice Maeterlinck (1862-1949), who followed the steps of ...(Complete abstract electronic access below)

This thesis discusses the philosophy of positivism in nineteenth century France. Based on an empirical vision of society, positivism advocated values of rationality, progress, and secularization. In that way, it stood as one of the defining systems of thought of the modern era. I discuss, however, an undercurrent of anxiety about those same values. Positivism's founder, Auguste Comte, argued that all sciences would become unified and organized under universal principles and empirical standards. He viewed the human mind as becoming more rationalized throughout history. In his later career, however, he argued that rationalism was a destructive force and that a new form of secular religion as necessary to establish morality and order. I argue that this transition from science to religion represents an underlying anxiety of the nineteenth century. Intellectuals from different sides of the political spectrum viewed progress as positive, but also limited. They argued that something beyond science, in the realm of the religious, the metaphysical, or the subjective, was necessary for society. They expressed these concerns through the language of gender. Comte argued that women would be at the center of his religion. They would socialize and moralize men, making them part of a new unified, pacifist and orderly social whole. I also discuss two later intellectuals, social psychologist Gustave Le Bon and pioneering sociologist Emile Durkheim. Le Bon represented the fin-de-siecle rejection of positivism. He began with positivist principles, but later argued that humanity was irrational and violent. He viewed the modern masses as a powerful force which threatened to destroy civilization. The other figure, Durkheim, rejected Le Bon's form of nationalist right-wing thought and formed theories of social harmony, altruism, and a solidarity. He sought to reconcile egalitarian republican principles with positivist science. Despite their diverging theories, however, Le Bon and Durkheim employed similar assumptions about modernity and gender. Le Bon argued that European men were superior, and that all other groups shared an undeveloped mentality. Durkheim argued that men were social while women were simpler and mentally limited. Their views, far from establishing an unproblematic hierarchy of gender and race, in fact expressed anxieties about the state of modernity. They identified women, the lower classes, and other societies with values of simplicity, unity, and tradition. They identified the modern, Western male individual with the problems of modern society: excessive rationalization, instability, and secularization. This sense of ambivalence about modernity reveals the central importance of positivism to understanding nineteenth century thought. Positivism sought to reconcile seemingly antithetical principles of order with progress, individualism with social unity, and morality with rationalization. In doing so, it established anxieties about the forces of change. Positivists advocated the most modern of principles, and sought to further the progress of civilization, but also identified those rationalized forces as problems in need of control. Positivism thus established its own undoing, which would come at the beginning of the twentieth century. In that era, intellectuals rejected purely scientific visions of the world in favor of subjective thought. I locate the origins of that rejection at the very foundations of positivist theory.

Ce mémoire-création comporte deux parties: une partie « création » et une partie « théorique ». La partie création consiste en l'écriture d'un poème dramatique qui porte le titre de Toxi©que. Ce texte se veut une exploration des nouvelles écritures dramatiques où la parole est action. L'analyse réflexive qui constitue la partie théorique de ce mémoire-création contient trois chapitres et sert à explorer les potentialités du poème dramatique au niveau littéraire, poétique et dramatique. Le premier chapitre sert à définir le poème dramatique dans le contexte de la crise du drame moderne. Le deuxième chapitre présente une analyse dramaturgique des trois poèmes dramatiques suivant: Axël de Villiers de L'Isle-Adam, Par les Villages de Peter Handke et 4.48 Psychose de Sarah Kane. Le troisième et dernier chapitre met en relation notre création Toxi©que avec le poème dramatique contemporain. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Poème dramatique, Auteur rhapsode, Choralité, Crise du drame.

Made available in DSpace on 2014-06-11T19:25:22Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-04Bitstream added on 2014-06-13T19:47:31Z : No. of bitstreams: 1 padua_lmp_me_arafcl.pdf: 1251536 bytes, checksum: 70918c4d25c48736c68649d3e7df958e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Le but de cette recherche c´est d´analyser les contes “Ligeia” (1838) d´ Edgar A. Poe et “Véra” (1876) de Villiers de l´Isle- Adam, chef-d´oeuvres du conte poétique de genre fantastique. Bien qu’ Edgar Allan Poe (1809-1849) ait vécu au début du siècle, et Villiers (1838-1889) à la fin, les deux ont la même perspective sur les événements qui se sont déroulés pendant tout le XIX ème siècle, comme la consolidation du pouvoir de la bourgeoisie, les découvertes technique-cientifiques, parmi d´autres. Si les avantages ont été nombreuses, la misère et l´inégalité sociale ont continué à augmenter. Ajoutée à cette ambiance de gêne sociale, l’ imminente fin du siècle annonçait, sous une perspective apocaliptique, la fin du monde. L’ homme, soumis au destin et aux forces terrestres sur lesquelles il n´a pas de contrôle, a été marqué par la tendance de réduire la vie à un nihilisme qui s´est traduit dans la fixation de la mort comme libération. En préférant le rêve à l´action, Poe et Villiers se sont refugiés dans la tour d´ivoire, en quête de l’ Absolu – méprisé par la société matérialiste de cette époque. Cette attitute a été la même de beaucoup d´autres auteurs qui, plus tard, allaient intégrer le mouvement symboliste dont les auteurs en discussion sont des antecesseurs. Le Symbolisme est né en France à la fin du XIX ème siècle et a atteint son apogée entre les années 1885 et 1895. Il émet, parmi quelques élements-base – le symbole, le rêve, le mythe, l´inconscient – la sensibilité esthétique et les aspirations métaphysiques. Si ce genre a traduit les besoins esthétiques et métaphysiques de cette période, le genre fantastique a été un moyen efficace par lequel ils ont été exprimés. Une fois que le fantastique présuppose comme principe la présence de l’ élément surnaturel, il signifie... (Résume complet accès electronique ci-dessous) / Este estudo tem por objetivo analisar os contos “Ligeia” (1838) de Edgar A. Poe e “Véra” (1876) de Villiers de l´Isle- Adam, obras-primas do conto poético de gênero fantástico. Embora o norte-americano Edgar A. Poe (1809-1849) tenha vivido no começo do século, e Villiers (1838-1889) o tenha no seu fim, ambos têm a mesma perspectiva pessimista sobre os acontecimentos que se desenrolaram durante todo o século XIX, a saber: consolidação do poder da burguesia, descobertas tecnocientíficas, etc. Se os avanços foram muitos, a miséria e a desigualdade social continuaram a aumentar. Acrescido a esse clima de desconforto social, o iminente fim do século anunciava, em uma perspectiva apocalíptica, o fim dos tempos. O homem, submetido ao destino e às forças terrestres sobre as quais não tem controle, fora marcado pela tendência de reduzir a vida a um niilismo que se traduziu na fixação da morte como libertação. Preferindo o sonho à ação, Poe e Villiers se refugiaram na torre de marfim no intento de buscar o Absoluto – preterido pela sociedade materialista da época. Essa atitude foi a mesma de muitos outros autores que integraram o movimento simbolista do qual os referidos autores foram antecessores. O Simbolismo nasceu na França na última parte do século XIX e alcançou seu auge na década situada entre 1885 e 1895. Ele emite através de alguns elementos base – o símbolo, o sonho, o mito, o inconsciente – a sensibilidade estética e as aspirações metafísicas. Se este movimento traduziu as necessidades estéticas e metafísicas desse período, o gênero fantástico foi um meio eficaz pelo qual elas foram expressas. Uma vez que o fantástico pressupõe como princípio a presença do elemento sobrenatural, ele significa, em ultima instância, a fuga da realidade, a contestação dos valores do mundo físico. Não por acaso, depois da inserção...

La sociologie a proposé une multitude d’explications sur divers phénomènes sociaux. Cependant, plusieurs sociologues, dont Boudon se sont surtout intéressés à l’aspect scientifique de la sociologie. Les questions les plus souvent posées lorsqu’on entreprend de telles études se penchent essentiellement sur le caractère scientifique de la discipline sociologique. Quels sont les critères de scientificité de la sociologie ? Quel est son sens épistémologique dans la littérature scientifique ? Quel est son raisonnement existentiel dans la construction du savoir ? La sociologie pourrait-elle être traitée méthodologiquement parlant au même titre que les autres disciplines des sciences naturelles ou particulières ? Si oui, pourrait-elle expliquer les lois des phénomènes sociaux à partir des observations hypothético-déductives sur la nature de la réalité sociale ? Dans cette thèse, nous tenterons de répondre à ces questions en nous appuyant sur des concepts élaborés par les sociologues classiques et contemporains.