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Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèse. / This thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry.

The dissertation presents a female German composer Ellinor Valesby, who composed Chinese art songs in Chinese with classical Chinese poetry. For political reasons, she used her pseudonym rather than her given name Irmgard Heinrich (1894-1969). As a western composer, also the wife of a Chinese poet and composer Ching-chu, who lived in China for 25 years, Valesby's songs present various interpretive challenges stemming from the combination of traditional Chinese poetry, folk music vernacular, and Western music components. Because no documentation in English can be found about Valesby or her songs, there is a need to provide performers with a better understanding of her perspective in these increasingly multicultural times. In addition, the dissertation discusses the germination and development of the Chinese Art Song and introduces the school song, the predecessor of Chinese art songs. The focus is on examining the Chinese and Western influences that appear in Valesby's art songs, revealing through examination of text setting, form, musical texture, and the role of piano how this female Western composer who did not speak Chinese set Chinese poetry from her unique cross-cultural perspectives. Today the legacy of these Chinese art song pioneers remains incomplete, but Valesby and her husband Ching-chu's profound contribution to both Chinese art songs and Chinese musicology remains indisputable.

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Thesis abstract The aim of this thesis is to provide a detailed analysis of the chosen poems "on things" of natural origin written by Li Shangyin and their interpretation. Based on the analysis, I will make an attempt to find out how the author handles the conventions of the yongwu genre, to what extent his poems "on things" correspond to the previous poetic tradition and to what extent they are innovative from the point of view of the choice of topics, symbolism, language techniques and the overall message of the poem. The opening chapter of the thesis includes Li Shangyin's biography, a short overview of his writings and basic approaches to their interpretation, as well as a brief introduction of the yongwu genre and the basic peculiarities of Li Shangyin's poems, which belong to this genre. The next chapter is the essential part of the thesis, which provides the actual analysis of the chosen poems, supplemented with prosaic literal translations. This part of the thesis consists of a few sections, which are dedicated either to some particular type of Li Shangyin's yongwu or to a precise aspect of his poems, which belong to this genre. The conclusion of this study is that Li Shangyin's greatest contribution to the tradition of the yongwu genre is the transformation of poems "on things" into a kind of...

A proposta desta tese é fazer uma leitura do Cancioneiro Chinês, obra que contém poemas chineses traduzidos por António Feijó da versão francesa de Judith Gautier, e das Elegias Chinesas traduzidas por Camilo Pessanha a partir dos originais. Nosso objetivo é identificar, nos procedimentos desses autores presentes em suas reimaginações, os diferentes deslocamentos culturais, linguísticos e poéticos que se estabelecem no trânsito entre a poesia Oriental e a poesia Ocidental. Para tanto, buscamos, em teóricos da tradução, sinólogos e tradutores de poesia chinesa, reflexões e conceitos que alicercem este nosso estudo. / The purpose of this thesis is to interpret a reading of Cancioneiro Chinês, a work that contains Chinese poems translated by António Feijo from Judith Gautiers French version and of Elegias Chinesas, translated by Camilo Pessanha from the original texts. Our objective is to identify, from the procedures of these authors present in their re-imaginations, the different cultural linguistics and poetics deslocation which establish the exchange between Oriental and Occidental poetry. Therefore, we search, from the scholars of translation, sinologists and translators of Chinese poetry, reflections and concepts that form the fundamentals of this study.

University of Macau / Faculty of Arts and Humanities. / Department of Chinese Language and Literature

University of Macau / Faculty of Arts and Humanities. / Department of Chinese Language and Literature

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

A proposta desta tese é fazer uma leitura do Cancioneiro Chinês, obra que contém poemas chineses traduzidos por António Feijó da versão francesa de Judith Gautier, e das Elegias Chinesas traduzidas por Camilo Pessanha a partir dos originais. Nosso objetivo é identificar, nos procedimentos desses autores presentes em suas reimaginações, os diferentes deslocamentos culturais, linguísticos e poéticos que se estabelecem no trânsito entre a poesia Oriental e a poesia Ocidental. Para tanto, buscamos, em teóricos da tradução, sinólogos e tradutores de poesia chinesa, reflexões e conceitos que alicercem este nosso estudo. / The purpose of this thesis is to interpret a reading of Cancioneiro Chinês, a work that contains Chinese poems translated by António Feijo from Judith Gautiers French version and of Elegias Chinesas, translated by Camilo Pessanha from the original texts. Our objective is to identify, from the procedures of these authors present in their re-imaginations, the different cultural linguistics and poetics deslocation which establish the exchange between Oriental and Occidental poetry. Therefore, we search, from the scholars of translation, sinologists and translators of Chinese poetry, reflections and concepts that form the fundamentals of this study.