Orientador: Antonio Roberto Esteves / Banca: Heloisa Costa Milton / Banca: Ana Maria Domingues de Oliveira / Resumo: Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento. / Abstract: Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement. / Doutor

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Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03-17Bitstream added on 2014-06-13T19:22:29Z : No. of bitstreams: 1 franzoni_ma_dr_assis.pdf: 649296 bytes, checksum: f6fa76a9cda2589ae1acece2c2f21fa9 (MD5) / Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento. / Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement.

Ce travail de doctorat consiste en l’étude des propositions paradoxales dans la première partie de l’œuvre poétique de Jenaro Talens (1964-1991). A partir des deux notions de paradoxe et de poésie, nous avons organisé nos recherches autour des structures syntagmatiques et paradigmatiques de l’énonciation paradoxale, et de la spécificité de ce discours poétique que nous avons appelé axe poétique. Ainsi après avoir défini deux grandes catégories de paradoxes (logiques et étymologiques), nous avons analysé la structure et les constructions de la signifiance des propositions paradoxales pour révéler leur rôle et leur fonction dans l’œuvre étudiée : moteur même de l’écriture, le sentiment paradoxal, synonyme du désarroi, manifeste la limite de la structuration duelle du réel pour inviter à une organisation non-duelle du monde. / This work consists in the study of paradoxical clauses in the first part of Jenaro Talens’s poetic works (from 1964 to 1991). Starting from the two notions of paradox and poetry, we have organized our research around the syntagmatic and paradigmatic structures of the enunciation of paradoxes and the specificity of this poetic discourse, which we called poetic axis. So, after defining 2 large categories of paradoxes (logical and etymological), we have analysed the structure and the constructions of paradoxical propositions, in order to reach their role and function of the work under study : the feeling of paradox, as a synonym of disarray, which is the fuel of writing, shows the limit of the dual structure of the real, to lead to a non dual organisation of the world.

Le poète européen Guillermo Carnero, dit ‘novísimo’, publie ses premiers poèmes dans l’Espagne du franquisme tardif des années 70 du siècle dernier et se fait alors connaître du grand public par son oeuvre phare Dibujo de la muerte. Auteur de onze livres, il poursuit l’élaboration de son oeuvres piralaire jusqu’au dernier recueil en date, Carta florentina, publié en 2018, tout en conduisant une carrière universitaire en tant que professeur de littérature à l’université d’Alicante. Souffrant d’une réception souvent figée par les figures de réception imposées de l’historiographie littéraire, la signifiance de cette oeuvre, réputée difficile, ne fut que trop rarement mise en évidence malgré la parution d’essais européens. Or, le poète, lecteur et érudit cosmopolite amoureux des arts et des cultures exprime dans sa poésie une intime relation au monde grâce à une relation dialogique avec le référent culturel, qui y occupe une place centrale en tant qu’axe fondateur autour duquel s’articulent l’expression de l’émotion poétique et la réflexion sur la création. L’hybridité constitutive du tissage de l’insaisissable ordonné de cette oeuvre poétique induit chez le lecteur une réception engagée et une itinérance au sein des univers culturels propres à l’auteur. Ainsi se met en oeuvre la médiation humaniste entre le poète et son lecteur grâce à la prégnance du référent culturel mobilisé pour dire l’intime d’un douloureux rapport au monde. Cette médiation humaniste facteur de connaissance de soiest ici conduite hors de toute recherche d’intertextualité mais laisse place à l’écriture de l’émotion à l’oeuvre, saisie dans l’instantanéité des ambivalences d’une insaisissable voix poématique / The European poet Guillermo Carnero, known as 'novísimo', published his first poems in late Franco's Spain in the 1970s and became known to the general public with his flagship work Dibujode la muerte. Author of eleven books, he continues the development of his spiral work until the latest collection, Carta florentina, published in 2018, while conducting an academic career as a professor of literature at the University of Alicante. Suffering from a reception often frozen by the imposed reception figures of literary historiography, the significance of this work, reputed difficult, was only too rarely highlighted despite the publication of European essays. The poet, reader and cosmopolitan scholar inlove with the arts and cultures, expresses in his poetry an intimate relationship with the world through a dialogical relationship with the cultural referent, which occupies a central place there as a founding axis around which are articulated the expression of poetic emotion and reflection on creation. The hybridity that constitutes the weaving of the elusive order of this poetic work induces in the reader a committed reception and a roaming within the author's own cultural universes. Thus the humanist mediation between the poet and his reader is implemented thanks to the influence of the cultural referentmobilized to express the intimacy of a painful relationship with the world. This humanistic mediation, a factor of self-knowledge, is conducted here without any search for intertextuality but leaves room for the writing of emotion at work, captured in the instantaneity of the ambivalences of an elusive poematic voice.