The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.

Submitted by Josiane ribeiro (josiane.caic@gmail.com) on 2015-05-05T17:30:07Z No. of bitstreams: 1 REGINALDO PARCIANELLO.pdf: 1007856 bytes, checksum: c59a6aa4b90d0e543855194ecb877e1f (MD5) / Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-05-08T17:30:24Z (GMT) No. of bitstreams: 1 REGINALDO PARCIANELLO.pdf: 1007856 bytes, checksum: c59a6aa4b90d0e543855194ecb877e1f (MD5) / Made available in DSpace on 2015-05-08T17:30:24Z (GMT). No. of bitstreams: 1 REGINALDO PARCIANELLO.pdf: 1007856 bytes, checksum: c59a6aa4b90d0e543855194ecb877e1f (MD5) Previous issue date: 2010 / Investigamos, nesta pesquisa, as temáticas do sonho e da metapoesia no Cancioneiro, de Fernando Pessoa, a partir da poética interseccionista, criada por ele. Observamos e interpretamos os cruzamentos de sensações e noções abstratas, para concluir se é apropriado ou não estendê-la a outros poemas, além dos programáticos. As questões teóricas norteadoras são a existência e relevância de uma dialética em seus poemas e também a dupla mão entre ortônimo e heterônimo. / Je recherche les sujets du rêve et de la métapoésie dans le Cancioneiro/ Chansonnier de Fernando Pessoa, dès la poétique « intersectioniste », créée par luimême. J’observe et interprète les carrefours entre sensations et notions abstraites, pour savoir s’il est ou s’il n’est pas convenant l’élargir à d’autres poèmes, hormis les programatiques. Les questions théoriques principales sont l’existence et l’importance d’une dialectique dans ses poèmes ; et aussi l’autoroute entre orthonyme et hétéronyme.

Title of the thesis: The chanson as a complex speech act and its translatability Keywords: chanson, translation, song lyrics, chansonnier, interpretation, acting, nonverbal communication, Aznavour, Bécaud, Piaf, Hegerová, Gott, Čeřovská, cabaret Abstract: The aim of the thesis is to describe the possibilities and the limits of translatability of chanson with regard to song lyrics and dramatic performance. The main contribution consists in determination of a relation between borrowed chansons and their French originals. The realization of the thesis is based on a research on the field of literary translation and acting on the one hand and on the analysis of song lyrics and dramatic performances on the other hand. The analyses in both cases concern three selected French chansons and Czech versions corresponding to them. The first part of the thesis defines the chanson and explains its historical development in the Czech territory. The theory of literary translation and lyrics translation is presented and applied to the translation of chanson in the second part. The third part deals with possibilities of a dramatic interpretation of chanson on the basis of the theory of acting. The last part brings a double analysis which concerns song lyrics and dramatic interpretation of chosen pairs of chanson.

L'anthropologie des littératures orales s'est pour l'instant peu intéressée à la cantoria, une tradition particulière au Nordeste du Brésil. Devant un auditoire de passionnés de poésie, des cantadores improvisent des poèmes qu'ils chantent en s'accompagnant de violas. Les performances orales exigent un esprit très mobile, jouant sur la mémoire et la spontanéité, et ont lieu au cours des déplacements incessants des cantadores. Conditions de production, formes poétiques et thématiques sont variées, en évolution constante. Les poètes se sont adaptés à l'urbanisation en se qualifiant davantage, leurs propos sont plus engagés, ils sont désormais plus nombreux à vivre de leur art populaire. La recherche a été conduite dans trois États, des grandes villes au sertão. L'idée de mouvement fonde la problématique qui interroge la faculté d'adaptation propre aux improvisateurs, la dynamique dont ils font preuve socialement et l'éthique orientant les changements qu'ils impriment à leur tradition.