Orientador: Marcos Antônio Siscar / Banca: Miguel Castillo Didier / Banca: Constança Terezinha Marcondes Cesar / Banca: Arnaldo Franco Júnior / Banca: Orlando Nunes Amorim / Resumo: O tema da viagem de Odisseu foi largamente retomado pela tradição literária após a Odisséia de Homero, seja para confirmar o ideal do herói nostálgico, que anseia o retorno à pátria, seja para reafirmar o ímpeto do eterno navegador de mares. Nikos Kazantzakis (1883-1957) igualmente retoma o Odisseu lendário, insatisfeito com o retorno ao lar, como seu protótipo de herói e constrói, na modernidade, o poema épico Odisséia (1938), a partir do canto XXII no verso 477 do poema de Homero, sendo Odisseu levado a um novo itinerário ao deixar Ítaca definitivamente. Embora se baseie na obra clássica, recuperando personagens e a estrutura épica, Kazantzakis participa de seu tempo, compondo um novo Odisseu representante do mundo moderno, próximo das filosofias de Nietzsche e de Bergson. Como figura "entre mundos", o Odisseu de Kazantzakis recupera as antigas delineações de Homero e incorpora as questões da modernidade: o niilismo, a desesperança, a multiplicidade. No entanto, além de prolongar os feitos de Odisseu e a narrativa de Homero, Kazantzakis compõe um poema épico de dimensões admiráveis - 33.333 versos de 17 sílabas poéticas, em 24 cantos - contrariando (e reafirmando) as intenções inovadoras de seus contemporâneos da primeira metade do século XX. A epopéia configura na modernidade um gênero considerado esgotado, que teria dado lugar ao romance como gênero mais apropriado às produções modernas. Esta investigação, no entanto, procura evidenciar que o épico de Kazantzakis, ainda que represente um anacronismo em tempos modernos e, para muitos, uma afronta às normas estéticas, é, assim como muitas das obras de sua época, a confirmação das intenções inovadoras em tempos de crise, por meio da incorporação de uma trajetória filosófica de Odisseu baseada no niilismo heróico de cunho nietzschiano e na evolução criadora de Bergson... (Resumo completo clicar acesso eletrônico abaixo) / Abstract: The theme of Odysseus‟ journey was broadly retaken by the literary tradition after Homer‟s Odyssey, whether to confirm the nostalgic ideal of the hero yearning to return to his homeland, or to reaffirm the impetus of the eternal navigator. Nikos Kazantzakis (1883-1957) also incorporates as his prototypical hero the legendary Odysseus, unhappy about returning home, and writes, in the modernity, the epic poem Odyssey (1938), based on the canto XXII and on the verse 477 of Homer‟s poem, and taking Odysseus to a new route when he leaves Ithaca for good. Although based on the classic work, restoring its characters and its epic structure, Kazantzakis takes part of his own time, creating a new Odysseus, now representative of the modern world, and close to the philosophies of Nietzsche and Bergson. As a figure "between worlds", Kazantzakis‟s Odysseus recovers the old delineations of Homer and incorporates the issues of modernity: nihilism, hopelessness, and multiplicity. However, besides prolonging Odysseus‟ prowess and Homer‟s narrative, Kazantzakis wrote an epic poem of remarkable dimensions -- 33,333 verses of 17 poetic syllables, along 24 Cantos -- contradicting (and reassuring) the innovative intentions of his contemporaries in the first half of the 20th century. In the modernity, epic poetry configures a genre considered to be already exhausted, and which would have given rise to the novel as a genre much more suitable to the modern productions. This research, however, intends to show that the Kazantzakis‟s epopee, even being an anachronism in the modern times and, for many, an affront to aesthetic standards, is, like many of the works of his time, the confirmation of innovative intentions that take place in times of crisis, through the incorporation of a philosophical trajectory of Odysseus based upon Nietzsche‟s heroic nihilism and on Bergson‟s ...(Complete abstract click electronic access below) / Doutor

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In Brazil and Europe, after knowing the production of literary works, of Dionysia Gonçalves Pinto (1810-1885), better known as Nísia Floresta, which along with various books published, also wrote a epic poem indianista and indigenous, in the nineteenth century, entitled A lágrima de um Caeté (1849). We decided to produce a scientific research, professional perspective, to make better education and learning in Portuguese Language, with one literary text. So we decided to develop studies A lágrima de um Caeté of Nisia Floresta as one sensitive and possible corpus for a education or as way to mediate literary text reading times among young people 13-17 years old. Then our pedagogical action ran a critical way, we base ourselves in scientific research of Anazildo Vasconcelos da Silva and him theory known as Literary Semiotization of Discourse, later developed also by the writer Christina Ramalho, and literary historiography studies of Constance Lima Duarte. Other intellectuals like Tzvetan Todorov, Umberto Eco and Roland Barthes, added to Romero, Marisa Lajolo, Regina Zilberman and Antonio Candido, among others. Our pedagogical and literary project entitled "Poetry ilustrations 2015" to show for classroom that learn about skills and competencies for identify the "epic heroism" in epic poems. We promote a production illustrations, created from stanzas or episodes in A lágrima de um Caeté. We published and illustrated two versions of A lágrima de um Caeté: one e-book, available on our website on the Internet; otherwise it was a printed book for to restore the collections in school library. Therefore, to strengthen our teaching practices to encourage reading, we perform one ludic game: "Ask and you will know". Then, we aim to contribute to a critical review on school debates, especially of equal rights issues, related to culture and your ethnics problems in Brazil. / Após conhecermos a produção literária da escritora brasileira Dionísia Gonçalves Pinto (1810 – 1885), mais conhecida como Nísia Floresta, que, além de vários livros publicados, escreveu, também, um poema épico indianista e indigenista, em pleno século XIX, intitulado A lágrima de um Caeté (1849), sentimo-nos inclinados a produzir uma pesquisa científica, de cunho profissional, para fortalecer o ensino de Língua Portuguesa, através do texto literário. Sendo assim, resolvemos desenvolver estudos sobre “A lágrima de um Caeté, de Nísia Floresta, como um corpus sensível e possível para o 9o ano”, resultado do desejo de mediar momentos de estímulo à leitura do texto poético, no Ensino Fundamental, entre jovens de 13 a 17 anos de idade. Para que a nossa ação pedagógica funcionasse de um modo crítico, fundamentamo-nos em pesquisas de Anazildo Vasconcelos da Silva, sobre a semiotização literária do discurso, posteriormente desenvolvidas, também, por Christina Ramalho, e em estudos de historiografia literária de Adauto da Câmara e, também, de Constância Lima Duarte. Outros(as) intelectuais, como Tzvetan Todorov, Umberto Eco e Roland Barthes, somados a Sílvio Romero, Marisa Lajolo, Regina Zilberman e Antônio Cândido, entre outros(as), auxiliaram-nos nessa pesquisa. Nosso projeto pedagógico e literário, intitulado “Poesia ilustrada 2015”, proporcionou momentos de mediação, com a juventude, dotando-a de habilidades e competências linguísticas, para uma possível aprendizagem sobre “heroísmo épico”. Promovemos, assim, uma produção de ilustrações, tanto de estrofes quanto de episódios do poema, e publicamos duas versões ilustradas de A lágrima de um Caeté: uma digital, disponível em nosso site, na internet, e a outra, impressa, para compor o acervo da nossa biblioteca escolar. A fim de reforçarmos nossas práticas didáticas de estímulo à leitura, aplicamos outra atividade lúdica: “Pode perguntar”. Com isso, visamos colaborar para a criticidade dos debates escolares, principalmente no que tange a questões de igualdade de direitos e de convívio pacífico entre diversas etnias culturais.

La Vengeance Nostre Seigneur est une chanson de geste écrite vers 1200 qui raconte la destruction de Jérusalem en 70 de notre ère par Vespasien et Titus comme une vengeance pour la Crucifixion. Elle nous est parvenue dans dix manuscrits, tous des recueils, étant donné sa relative brièveté (1200 à 3400 vers, selon les rédactions). Or, ce texte adopte un comportement particulier dans certains des manuscrits qui le conservent : le récit de la vengeance du Christ bourgeonne dans d’autres textes où l’on n’attendrait pas sa manifestation. L’objectif de cette étude est double : comprendre comment est pensé, conçu et construit le recueil médiéval d’une part, à partir du recueil de Paris, BnF, fr. 1553 ; d’autre part, il s’agira d’évaluer le rôle que la Vengeance Nostre Seigneur peut jouer dans la composition des manuscrits qui l’hébergent. Après l’analyse du recueil du Moyen Âge central en général et du recueil de Paris, BnF, fr. 1553 en particulier, l’étude se concentrera sur la Vengeance Nostre Seigneur afin de la situer dans le paysage littéraire médiéval (étude des sources, analyse générique, contexte de circulation). Il s’agira de comprendre la place qu’elle occupe dans le manuscrit de Paris, BnF, fr. 1553 et de saisir le phénomène de rayonnement qui surgit dans ce recueil. Le rôle de la Vengeance dans deux autres manuscrits qui, bien que fort différents, occupent une place importante dans la tradition, le recueil de Paris, BnF, fr. 1374 et le recueil de Turin, BNU, L.II.14, sera ensuite étudié, notamment en ce qui a trait au rayonnement de la légende. Enfin, les trois copies du texte seront comparées afin de déterminer dans quelle mesure ces trois rédactions représentent précisément le même récit. / The Vengeance Nostre Seigneur is an epic poem written around 1200 which depicts Jerusalem’s destruction in 70 AD by Vespasian and Titus as a vengeance for the Crucifixion. It is now known in ten manuscripts, all of them miscellanies, given its relative brevity (1200 to 3400 verses, depending on the redaction). This text has a peculiar behavior in some of the manuscripts where it is kept: the story of Christ’s vengeance appears in other texts in which we would not expect its manifestation. The purpose of this study is twofold: on one hand, to understand how the medieval collection is thought, built and conceived, from the manuscript of Paris, BnF, fr. 1553; and on the other hand, to evaluate the role the Vengeance Nostre Seigneur played in the composition of the manuscripts that hosts it. After analysing the medieval miscellany in general, and more specifically the Paris, BnF, fr. 1553 collection, the study will focus on the Vengeance Nostre Seigneur to position it on the medieval literary scene (study of the sources, generic analysis, circulation context). The goal will be to demonstrate the role it played in the Paris, BnF, fr. 1553 manuscript and to understand the phenomenon of unexpected presence of the legend in other texts of this collection. There will then be a study of the same phenomenon in two very different manuscripts that both occupy an important place in the tradition; the manuscripts of Paris, BnF, fr. 1374 and Turin, BNU, L.II.14. Finally, the three copies of the text will be compared to determine if these three redactions represent precisely the same story.

A epopeia Os Lusíadas (1572), de Luís de Camões, estrutura-se, historicamente, sobre o achamento da Índia e, miticamente, sobre as mitologias greco-latina e judaico-cristã. A presença dessas mitologias divergentes em Os Lusíadas estimula a elaboração de uma epopeia portuguesa chamada O Oriente (1814), cujo autor é o padre português José Agostinho de Macedo. O Oriente é uma releitura de Os Lusíadas, e seu processo composicional caracteriza-se por negar e remover a sacralidade da representação dos deuses greco-latinos, substituindo-os pelas divindades judaico-cristãs, que Macedo exaltará, e por representar a Vasco da Gama como um herói genuinamente cristão, pois, segundo Macedo, Camões não o fizera. O narrador de O Oriente substitui as divindades representadas por Camões, tais como Júpiter, Baco, Vênus, Marte, Morfeu e Tétis, por figuras tais como Deus, Satanás, o Serafim e São Tomé. O narrador aceita e mantém, no entanto, determinados personagens da mitologia greco-latina em sua epopeia, tais como Luso, Lisa e Ulisses, por exemplo. Nesse sentido, José Agostinho de Macedo alinha-se à representação de Os Lusíadas. O narrador de O Oriente filia seu herói, Vasco da Gama, ao cristianismo, e representa-o como o eleito de Deus para a difusão da fé cristã no Oriente. O narrador, portanto, pretende emendar esses aspectos da representação de Os Lusíadas. / The epic poem Os Lusíadas (1572), by Luís de Camões, is based on the historical discovery of India and on the Greco-Roman and Judeo-Christian mythologies. The presence of these divergent mythologies in Os Lusíadas stimulates the elaboration of a Portuguese epic poem entitled O Oriente (1814), by the Portuguese priest José Agostinho de Macedo. O Oriente is a rereading of Os Lusíadas, and its compositional process is characterized by denying and removing the sacredness of the representation of the Greco-Roman gods, who are replaced by the Judeo-Christian deities the autor intends to exalt, and for representing Vasco da Gama as a genuine Christian hero, because, according to Macedo, Camões had not done that. The narrator of O Oriente replaces the deities represented by Camões, such as Jupiter, Bacchus, Venus, Mars, Morpheus and Thetis, with figures such as God, Satan, Seraphim, and St. Thomas. The narrator accepts and maintains, however, certain characters from Greco-Roman mythology in his epic poem, such as Luso, Lisa and Ulysses. In this regard, José Agostinho de Macedo aligns himself with the representation of Camões. The narrator of O Oriente associates his hero, Vasco da Gama, with Christianity and represents him as the chosen of God in order to spread the Christian faith in the East. The narrator, therefore, intends to fix aspects of the representation of Os Lusíadas.

A epopeia Os Lusíadas (1572), de Luís de Camões, estrutura-se, historicamente, sobre o achamento da Índia e, miticamente, sobre as mitologias greco-latina e judaico-cristã. A presença dessas mitologias divergentes em Os Lusíadas estimula a elaboração de uma epopeia portuguesa chamada O Oriente (1814), cujo autor é o padre português José Agostinho de Macedo. O Oriente é uma releitura de Os Lusíadas, e seu processo composicional caracteriza-se por negar e remover a sacralidade da representação dos deuses greco-latinos, substituindo-os pelas divindades judaico-cristãs, que Macedo exaltará, e por representar a Vasco da Gama como um herói genuinamente cristão, pois, segundo Macedo, Camões não o fizera. O narrador de O Oriente substitui as divindades representadas por Camões, tais como Júpiter, Baco, Vênus, Marte, Morfeu e Tétis, por figuras tais como Deus, Satanás, o Serafim e São Tomé. O narrador aceita e mantém, no entanto, determinados personagens da mitologia greco-latina em sua epopeia, tais como Luso, Lisa e Ulisses, por exemplo. Nesse sentido, José Agostinho de Macedo alinha-se à representação de Os Lusíadas. O narrador de O Oriente filia seu herói, Vasco da Gama, ao cristianismo, e representa-o como o eleito de Deus para a difusão da fé cristã no Oriente. O narrador, portanto, pretende emendar esses aspectos da representação de Os Lusíadas. / The epic poem Os Lusíadas (1572), by Luís de Camões, is based on the historical discovery of India and on the Greco-Roman and Judeo-Christian mythologies. The presence of these divergent mythologies in Os Lusíadas stimulates the elaboration of a Portuguese epic poem entitled O Oriente (1814), by the Portuguese priest José Agostinho de Macedo. O Oriente is a rereading of Os Lusíadas, and its compositional process is characterized by denying and removing the sacredness of the representation of the Greco-Roman gods, who are replaced by the Judeo-Christian deities the autor intends to exalt, and for representing Vasco da Gama as a genuine Christian hero, because, according to Macedo, Camões had not done that. The narrator of O Oriente replaces the deities represented by Camões, such as Jupiter, Bacchus, Venus, Mars, Morpheus and Thetis, with figures such as God, Satan, Seraphim, and St. Thomas. The narrator accepts and maintains, however, certain characters from Greco-Roman mythology in his epic poem, such as Luso, Lisa and Ulysses. In this regard, José Agostinho de Macedo aligns himself with the representation of Camões. The narrator of O Oriente associates his hero, Vasco da Gama, with Christianity and represents him as the chosen of God in order to spread the Christian faith in the East. The narrator, therefore, intends to fix aspects of the representation of Os Lusíadas.

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-15Bitstream added on 2014-06-13T20:07:06Z : No. of bitstreams: 1 bernardes_cd_dr_sjrp_parcial.pdf: 131506 bytes, checksum: b61e96e0fc149b40b46eb07f77cc1058 (MD5) Bitstreams deleted on 2015-06-25T13:00:56Z: bernardes_cd_dr_sjrp_parcial.pdf,. Added 1 bitstream(s) on 2015-06-25T13:03:19Z : No. of bitstreams: 1 000619081_20161512.pdf: 118890 bytes, checksum: 999f060d13bd016c6c6a36f085a2618f (MD5) Bitstreams deleted on 2017-01-02T15:03:47Z: 000619081_20161512.pdf,. Added 1 bitstream(s) on 2017-01-02T15:05:06Z : No. of bitstreams: 1 000619081.pdf: 990823 bytes, checksum: aeff84ed92c2ab0bea7e4988d1a54f13 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O tema da viagem de Odisseu foi largamente retomado pela tradição literária após a Odisséia de Homero, seja para confirmar o ideal do herói nostálgico, que anseia o retorno à pátria, seja para reafirmar o ímpeto do eterno navegador de mares. Nikos Kazantzakis (1883-1957) igualmente retoma o Odisseu lendário, insatisfeito com o retorno ao lar, como seu protótipo de herói e constrói, na modernidade, o poema épico Odisséia (1938), a partir do canto XXII no verso 477 do poema de Homero, sendo Odisseu levado a um novo itinerário ao deixar Ítaca definitivamente. Embora se baseie na obra clássica, recuperando personagens e a estrutura épica, Kazantzakis participa de seu tempo, compondo um novo Odisseu representante do mundo moderno, próximo das filosofias de Nietzsche e de Bergson. Como figura “entre mundos”, o Odisseu de Kazantzakis recupera as antigas delineações de Homero e incorpora as questões da modernidade: o niilismo, a desesperança, a multiplicidade. No entanto, além de prolongar os feitos de Odisseu e a narrativa de Homero, Kazantzakis compõe um poema épico de dimensões admiráveis – 33.333 versos de 17 sílabas poéticas, em 24 cantos – contrariando (e reafirmando) as intenções inovadoras de seus contemporâneos da primeira metade do século XX. A epopéia configura na modernidade um gênero considerado esgotado, que teria dado lugar ao romance como gênero mais apropriado às produções modernas. Esta investigação, no entanto, procura evidenciar que o épico de Kazantzakis, ainda que represente um anacronismo em tempos modernos e, para muitos, uma afronta às normas estéticas, é, assim como muitas das obras de sua época, a confirmação das intenções inovadoras em tempos de crise, por meio da incorporação de uma trajetória filosófica de Odisseu baseada no niilismo heróico de cunho nietzschiano e na evolução criadora de Bergson... / The theme of Odysseus‟ journey was broadly retaken by the literary tradition after Homer‟s Odyssey, whether to confirm the nostalgic ideal of the hero yearning to return to his homeland, or to reaffirm the impetus of the eternal navigator. Nikos Kazantzakis (1883-1957) also incorporates as his prototypical hero the legendary Odysseus, unhappy about returning home, and writes, in the modernity, the epic poem Odyssey (1938), based on the canto XXII and on the verse 477 of Homer‟s poem, and taking Odysseus to a new route when he leaves Ithaca for good. Although based on the classic work, restoring its characters and its epic structure, Kazantzakis takes part of his own time, creating a new Odysseus, now representative of the modern world, and close to the philosophies of Nietzsche and Bergson. As a figure “between worlds”, Kazantzakis‟s Odysseus recovers the old delineations of Homer and incorporates the issues of modernity: nihilism, hopelessness, and multiplicity. However, besides prolonging Odysseus‟ prowess and Homer‟s narrative, Kazantzakis wrote an epic poem of remarkable dimensions –– 33,333 verses of 17 poetic syllables, along 24 Cantos –– contradicting (and reassuring) the innovative intentions of his contemporaries in the first half of the 20th century. In the modernity, epic poetry configures a genre considered to be already exhausted, and which would have given rise to the novel as a genre much more suitable to the modern productions. This research, however, intends to show that the Kazantzakis‟s epopee, even being an anachronism in the modern times and, for many, an affront to aesthetic standards, is, like many of the works of his time, the confirmation of innovative intentions that take place in times of crisis, through the incorporation of a philosophical trajectory of Odysseus based upon Nietzsche‟s heroic nihilism and on Bergson‟s ...(Complete abstract click electronic access below)

A epopeia Os Lusíadas (1572), de Luís de Camões, estrutura-se, historicamente, sobre o achamento da Índia e, miticamente, sobre as mitologias greco-latina e judaico-cristã. A presença dessas mitologias divergentes em Os Lusíadas estimula a elaboração de uma epopeia portuguesa chamada O Oriente (1814), cujo autor é o padre português José Agostinho de Macedo. O Oriente é uma releitura de Os Lusíadas, e seu processo composicional caracteriza-se por negar e remover a sacralidade da representação dos deuses greco-latinos, substituindo-os pelas divindades judaico-cristãs, que Macedo exaltará, e por representar a Vasco da Gama como um herói genuinamente cristão, pois, segundo Macedo, Camões não o fizera. O narrador de O Oriente substitui as divindades representadas por Camões, tais como Júpiter, Baco, Vênus, Marte, Morfeu e Tétis, por figuras tais como Deus, Satanás, o Serafim e São Tomé. O narrador aceita e mantém, no entanto, determinados personagens da mitologia greco-latina em sua epopeia, tais como Luso, Lisa e Ulisses, por exemplo. Nesse sentido, José Agostinho de Macedo alinha-se à representação de Os Lusíadas. O narrador de O Oriente filia seu herói, Vasco da Gama, ao cristianismo, e representa-o como o eleito de Deus para a difusão da fé cristã no Oriente. O narrador, portanto, pretende emendar esses aspectos da representação de Os Lusíadas. / The epic poem Os Lusíadas (1572), by Luís de Camões, is based on the historical discovery of India and on the Greco-Roman and Judeo-Christian mythologies. The presence of these divergent mythologies in Os Lusíadas stimulates the elaboration of a Portuguese epic poem entitled O Oriente (1814), by the Portuguese priest José Agostinho de Macedo. O Oriente is a rereading of Os Lusíadas, and its compositional process is characterized by denying and removing the sacredness of the representation of the Greco-Roman gods, who are replaced by the Judeo-Christian deities the autor intends to exalt, and for representing Vasco da Gama as a genuine Christian hero, because, according to Macedo, Camões had not done that. The narrator of O Oriente replaces the deities represented by Camões, such as Jupiter, Bacchus, Venus, Mars, Morpheus and Thetis, with figures such as God, Satan, Seraphim, and St. Thomas. The narrator accepts and maintains, however, certain characters from Greco-Roman mythology in his epic poem, such as Luso, Lisa and Ulysses. In this regard, José Agostinho de Macedo aligns himself with the representation of Camões. The narrator of O Oriente associates his hero, Vasco da Gama, with Christianity and represents him as the chosen of God in order to spread the Christian faith in the East. The narrator, therefore, intends to fix aspects of the representation of Os Lusíadas.

La Chanson d’Anseïs de Mes est la quatrième et dernière branche de la Geste des Lorrains. On ne possède actuellement aucune édition complète de cette chanson de geste : la seule que nous ayons est celle d’Herman Green, faite en 1939 sur un manuscrit fautif et sans aucun apparat critique, d’où la nécessité d’une nouvelle édition. Cette édition de la partie inédite permet une série de conclusions qui soulignent l’originalité de ce poème que nous appellerons désormais Anseïs de Gascogne. 1. Cette chanson n’est pas une chanson lorraine, mais picarde ; notre manuscrit présente des traits picards très marqués. L’auteur, linguistiquement un picard, est originaire de cette partie nord de la France qu’il connaît parfaitement. La composition est à situer vers 1255-1260, dans la région picarde qui jouxte la Flandre. 2. Anseïs de Gascogne représente une idéologie nouvelle qui la place à contre courant des autres chansons des Lorrains. Même si elle met en scène les deux lignages ennemis des Bordelais et des Lorrains, l’esprit est totalement différent : Anseïs de Gascogne est une œuvre « engagée » qui vise à la gloire de la Flandre et à l’anéantissement du roi de France et de son royaume, et où les Lorrains sont désavoués. Histoire et fiction se rencontrent dans cette œuvre d’actualité qui clôt une fois pour toutes l’histoire des Lorrains. 3. C’est l’œuvre d’un clerc lettré qui a donné la priorité à l’intelligence et à la culture, avant la prouesse chevaleresque. Cet écrivain de talent a utilisé avec soin toutes les ressources du style épique [laisses, motifs, formules] ; le poème témoigne en outre d’une composition solide, parfaitement structurée et d’une recherche dans l’écriture : peinture réaliste et pittoresque mettant en valeur des personnages bien dessinés, art de suggérer, parfois avec humour, mélange de tragique et de scènes divertissantes qui en font une œuvre d’art. / The Poem of Anseïs of Mes is the fourth and last part of the Geste des Lorrains. There is no complete edition of this epic poem: the only one that exists is the work by Herman Green which was completed in 1939 on an inaccurate manuscript and without any accompanying notes. Therefore a new edition is necessary. The release of the unpublished part would highlight enough evidence of the originality of this poem which will now be called Anseïs of Gascony. 1. This work is not a poem from Lorraine but from Picardy; the manuscript has very pronounced features from Picardy. The author speaks the language and knows perfectly well his native land of Picardy in the north of France. The text can be placed around 1255-1260, in the region of Picardy which is next to Flanders. 2. Anseïs of Gascony represents a new ideology which goes against the prevailing current of the other poems of the Lorrains at the time. Even if it presents the two rival lineages of Bodeaux and Lorraine, the spirit is totally different: Anseïs of Gascony is a "committed" work which aims for the glory of Flanders and the destruction of the king of France and his kingdom and where the people of Lorraine are disowned. History and fiction meet in this topical text which ends once and for all the history of the people of Lorraine. 3. It is the work of a scholarly clerk and gives priority to intelligence and culture, before chivalrous feats. This talented writer carefully used all the resources in writing this epic poem [leads, motifs, formulas]; additionally, this thoroughly researched poem is a well-structured and by all means, a solid piece of work: a realistic picture highlighting characters which are well drawn, the art of suggesting, sometimes with humor, a mixture of tragic and amusing scenes which on the whole form a good work of art.

The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar study to be found on this topic in the extensive literature on Eichendorff. The search for models of types of similes brought me back to antique rhetoric as well as to Middle High German epic poems. In the first analysis, the types of similes occurring in the corpus are presented. The syntactic structures of image receivers and image givers are used as criteria. Four structures of similes occurred: a) classical similes and b) similes with image givers, which represent adverbial clauses and c) as / as if – clauses or are d) subject-related. The frequency and the development of frequency of types of similes are presented as well. In the second step of the thesis, I investigate whether similes tend to depict conditions/qualities or procedures/actions. It turned out that similes reflecting conditions/qualities, i.e. epic similes, dominated strongly. The high number of similes could possibly be explained by the functions carried out by epic similes in narrative texts. In the third part, I concern myself with the question whether the similes of the corpus are imaginative representations only and what kind of sensorial perceptions they express. Admittedly, the dominating percentage of the similes proved to be images, but more than fifteen per cent consist of sounds and other sensorial perceptions. Furthermore, imaginative similes, but also sounding similes express motion, so that they illustrate pictures in motion and sounding motion respectively. These come close to synaesthesia, whereas only five similes illustrate „pure“ synaesthesia. In contrast, subject-related similes are perceptions of different sensations and feelings, illustrating the inner life of a character not shared by any other character. Finally, the semantic content of the similes is investigated in order to determine the metamorphosis, i.e. the trope transfer from proprium to improprium. It turned out that only the classical simile originating in antique rhetoric is suitable for a semantic analysis. Above all, there is great variation in the trope transfer. The metamorphosis human being → nature dominates strongly, which makes the narrative text appear as a palimpsest, in which yet another world glimmer in front of the human being behind every character. However, the many trope transfers that convey reality → unreality could be interpreted as transitions and as a “magical code” of Eichendorff. Furthermore, the semantic analysis uncovers content and motives of classical similes. It becomes clear that pre-constructed – and only pre-constructed - content is imitated here. Consequently, it can be asserted that Eichendorff’s great number of similes constitute or at least contribute to the formulaic manner (according to Kohlschmidt) and the intertextuality (according to Nienhaus) in Eichendorff’s narrative work. Above all, the subject-related simile type turns out to be a typical representative of Romanticism because of its subjectivism. Together with its preformed semantic content, it constitutes the “romantic formula” of Eichendorff’s work.