Orientador: Isabella Tardin Cardoso / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T14:30:27Z (GMT). No. of bitstreams: 1 Alves_DiogoMartins_M.pdf: 1909699 bytes, checksum: 6568a7fe36c5be97cd12c62ef79bd815 (MD5) Previous issue date: 2013 / Resumo: A relevância da obra "Fábulas" (Fabulae), atribuída a um certo Higino, tende a ser cada vez mais reconhecida nos estudos mitográficos, embora estudiosos divirjam quanto ao valor da obra em si, considerada desde uma mera e medíocre tradução de um único compêndio grego, hoje perdido, até o mais importante manual de mitologia legado pela Antiguidade greco-romana. Esta pesquisa, que tem como corpus as fábulas I a CXXV (os quatorze primeiros ciclos mitológicos e a fábula Odisséia) não tem por pretensão qualificar a obra naqueles termos: o intuito é, antes, observar seu texto (com destaque a características relacionadas a sua língua, estilo e gênero), investigando, inclusive, a relevância de tais aspectos para o estudo mais geral dos mitos ali referidos (entre eles, inclusive, mitos para os quais hoje Higino é a única fonte antiga). Para tanto, o texto do primeiro ciclo mitológico (Fab. I a VI) é cotejado com a narrativa que Ovídio faz dos mesmos mitos (Met. IV. 512-542; 563-603; Fast. III. 853-876 e VI. 473-562). Analisa-se, em seguida, a fabula CXXV. Odisséia e suas relações com a obra homônima de Homero. A partir da tradução do corpus anotada para a língua portuguesa (inédita, ao que saibamos, no Brasil), elencamos aspectos do estilo "objetivo" que caracteriza a obra Fabulae como um compêndio mitológico / Abstract: The relevance of the work Fabulae, assigned to a certain Hyginus, tends to be more and more recognized in the mythographical studies, although scholars mostly disagree about the value of the work itself. The text is considered either as a simple and poor translation from one single Greek compendium, today lost, or as the most important mythological manual left by the Greco-Roman Antiquity. This study, whose corpus is composed by the fabulae I to CXXV (i.e. the first 14 mythological cycles and the fabula Odisseia), does not have the intention to qualify the Fabulae in those terms. The intention is, above all, to observe the text (by focusing its language and style), as well as to investigate the importance of such aspects to the general study of the myths there presented (including those myths to which Hyginus is the only ancient source). Therefore, the text of the first mythological cycle (Fab. I to VI) is compared to Ovidian's narrative of the same myths (Met. IV. 512-542; 563-603; Fast. III. 853-876 e VI. 473-562). Then, Fabula CXXV. Odisseia and its relations to Homer's homonymous epic are appreciates. Finaly selected aspects of the "objective" style that characterizes Hyginus's work as a mythological companion, that were identified during the translation to Brazilian Portuguese, are appreciated / Mestrado / Linguistica / Mestre em Linguística

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Marie de France a rédigé en Angleterre vers 1170 le premier recueil de fables en français, original à la fois par son ampleur (104 fables) et par sa variété.Sa première partie est une réécriture des fables classiques issues de la tradition du Romulus et en particulier d’un de ses remaniements, le Romulus de Nilant, composé avant le Xe siècle. Marie a traduit du latin un recueil intermédiaire perdu, le *Romulus anglo-latin, d’où provient également un recueil latin, le Romulus hexamétrique (Xe siècle). Si Marie prétend, à la fin de son recueil, s’appuyer sur un recueil anglais, celui-ci n’a jamais été retrouvé et les indices historiques suggèrent plutôt une source factice. Sa réécriture des fables antiques se caractérise par une réinterprétation des rapports de force dans un contexte féodal.La seconde partie, composée d’éléments variés, contient d’autres fables antiques dont le rassemblement est imputable à Marie elle-même. Le reste des fables n’a pas de source connue mais leurs origines peuvent être liées à différents genres en formation au XIIe siècle : les formes hétérogènes du récit comique qui aboutissent plus tard au fabliau (chansons, contes, aphorismes) et que Marie a pu connaître par l’intermédiaire du monde clérical ; le roman épique animalier qui prend forme aux XIe et XIIe siècles et qui pouvait circuler sous la forme d’assortiments de poèmes latins ; au moins deux exemples de fables arabes ; des fables « philosophiques » issues peut-être du monde de la prédication ou de l’invention personnelle de l’auteur.La répartition de ces fables dans le recueil montre que Marie a pu l’élaborer en « trovant » (découvrant, inventant) différents matériaux de multiples origines sur une longue période de temps. / Marie de France wrote in England, around 1170, the first book of fables in the French language, original both by its extent (104 fables) and by its diversity.The first half is an adapation of classical fables taken from the Romulus tradition and in particular from one of Romulus’ many offsprings, the Romulus de Nilant, written before the 10th century. Marie translated from latin a lost intermediary, the *Anglo-latin Romulus, from which also derives the Hexametrical Romulus (10th century). Though Marie asserts in her epilogue that she worked from an English book, historical context and contemporary sources suggest a fictitious claim. The main characteristic of her adaptation of the fables from Antiquity is the recasting of the classical power struggles into the feodal context.The second half is far more diverse and contains other fables from Antiquity probably gathered by Marie herself as well as many fables of unknown sources but whose origins can be linked to different emerging genres of the XIIth century : the comic story in all its varied forms from which the fabliau will soon be born (songs, tales, aphorisms), known to Marie by way of the clerical world ; the beast epic taking shape during the XIth and the XIIth centuries, accessible to Marie in manuscripts collecting latin animal poems ; at least two exemples of Arabic fables and “philosophical” fables taken from predicators or entirely invented by the author.The repartition of theses fables in her anthology-like book shows that Marie could have built it by “finding” (trover, meaning both finding and inventing) diverse materials from many origins over a lenghty period of time.

Bien que La Fontaine ait explicitement placé ses Contes dans la lignée de grands recueils de narrations plaisantes, comme le Décaméron, les Cent Nouvelles Nouvelles ou l’Heptaméron, cette filiation assumée masque deux énigmes. La première concerne la transmission de ces modèles prestigieux jusqu’au poète ; ceux-ci ont en effet connu une diffusion européenne par le biais de compilations anonymes mal connues, agissant comme autant de filtres qu’il faut mieux évaluer. La seconde est celle de l’influence, sous-estimée, de cette production récréative multiforme sur l’autre versant de l’œuvre de La Fontaine, rédigé parallèlement aux Contes : celui des Fables. Il est donc nécessaire de confronter ces deux œuvres du poète, abordées de manière solidaire, à un corpus d’une centaine de recueils de narrations brèves à visée divertissante, écrits entre le XVe et le XVIIe siècle, pour cerner ce que les Contes et les Fables doivent précisément à cette tradition plaisante. L’enquête, fondée sur des investigations archéologiques minutieuses, conduit à mesurer, dans les textes lafontainiens, les reprises (directes ou médiatisées) de canevas facétieux, les modalités d’adaptation stylistique de cet héritage ancien, et les nouveaux mécanismes de différenciation générique entre vis comica et vis gnomica. La relation entretenue par La Fontaine avec ce patrimoine pluriséculaire, associé à une Renaissance gaillarde, permet, plus largement, de mieux comprendre les rapports ambivalents de l’âge classique avec un passé perçu comme plus rieur. Sont ainsi posés les fondements d’une esthétique de l’influence, articulant les recherches génétiques, les micro-analyses littéraires et l’histoire des représentations. / Although La Fontaine claimed that his Tales were deliberately imitating some famous collections of amusing stories, such as The Decameron or French Cent Nouvelles Nouvelles and Heptaméron, two questions remain unresolved. The first one deals with how those prestigious models were passed on to the poet; little-known, anonymous compilations that both spread those narratives throughout Europe and influenced the way they were read, are to be taken into consideration in this process. The second one is about the undervalued influence of these protean entertaining texts on the other part of La Fontaine’s works, written at the same time as his Tales: the Fables. Those two works, tackled as a coherent whole, must therefore be collated to a corpus of about one hundred books collecting short, funny narratives, mainly written between the XVth and the XVIIth century – in order to define the precise debt of the Tales and Fables to this merry literary tradition. Thorough archeological investigations are the basis of this survey that determines, within La Fontaine’s texts, how the poet rewrote some jokes he knew directly or indirectly ; which stylistic devices he invented to adapt this ancient legacy ; how he renewed the way the didactic genres are differentiated from the comic ones. The view La Fontaine had of this long-aged heritage, seen as the product of a saucy Renaissance, entails a broader and better understanding of the ambiguous relations between the classic era and a past supposed to have been more cheerful. This lays the foundations of an aesthetics of influence, which links together genetic research, close-reading of literary texts and history of cultural representations.

Cette thèse vise à proposer une édition critique des quelque 143 fables grecques composées en choliambes par Babrius (Ier – IIe siècle après J.-C.), à les traduire en français et à en proposer un commentaire. Un travail complet d’établissement du texte a pour cela été mené, fondé sur l’examen à nouveaux frais des témoins de la tradition directe (papyri, tablettes de cire antiques et manuscrits médiévaux) et sur l’analyse des témoins de la tradition indirecte (la Souda en particulier). Le corpus des fables attribuées à Babrius ne permet pas une histoire du texte traditionnelle, fondée sur un stemma bien déterminé. En effet, les témoins sont peu nombreux, hétérogènes, et leurs leçons si divergentes qu’il est souvent difficile d’en préférer une ; aussi attestent-ils davantage des réécritures et des remaniements successifs dont ces fables ont fait l’objet au cours des siècles qu’ils ne permettent de retrouver avec sûreté la matière originelle voulue par Babrius lui-même. Ce constat a joué un rôle déterminant sur notre décision de nous démarquer des éditeurs précédents. Ces derniers, en effet, désireux de reconstituer un hypothétique « original d’auteur », ont souvent été amenés à réécrire les passages problématiques, si bien qu’ils donnent à lire un texte virtuel, remodelé et figé, incapable de témoigner de l’histoire pourtant passionnante de ce corpus vivant, en perpétuel devenir. C’est pourquoi cette thèse s’attache à élaborer une histoire du texte alternative – c’est-à-dire soucieuse de reconstituer dans sa complexité la fortune des fables de Babrius, l’histoire de leur transmission et de leurs réécritures – et, partant, une édition critique différente, attentive à rendre perceptible pour le lecteur moderne ce processus d’évolution du texte babrien. / This doctoral thesis proposes a critical edition of 143 Greek fables composed by Babrius in choliambic verse (1st and 2nd century AD), as well as a French translation and a commentary of the fables. This was achieved by thoroughly establishing the text, through a further examination of the witnesses in the direct tradition (papyri, ancient wax tablets and medieval manuscripts) and through the analysis of the witnesses in the indirect tradition (in particular the Suda). The corpus of fables attributed to Babrius does not permit to establish a traditional history of the text, based on a well-defined stemma. Indeed, there are few, heterogeneous witnesses and their readings diverge so greatly that it is often difficult to choose only one; hence, rather than allowing to retrieve with any degree of certitude the original material intended by Babrius himself, they in fact bear testimony to the numerous rewritings and reworkings of these fables throughout the centuries. This observation was instrumental in our decision to break with the editing tradition. In effect, previous editors, in their will to reconstruct a hypothetical autograph, have often been led to rewrite problematic passages, so that what they propose is a virtual, remodelled and fixed text that is in fact unable to testify to the fascinating history of this living, constantly evolving corpus. This is why this thesis aims to elaborate an alternative history of the text—that is, one that endeavours to reconstitute the complex fortune of Babrius’s fables, through the history of their transmission and rewritings—and, therefore, to propose a different critical edition, that strives to make this evolutionary process of Babrius’s text perceptible to the modern reader.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Submitted by Jadson Francisco de Jesus SILVA (jadson@uefs.br) on 2018-01-22T22:53:37Z No. of bitstreams: 1 O Fant?stico Mundo das F?bulas_uma interven??o para o ensino de leitura e escrita.pdf: 14370580 bytes, checksum: 365454c07fb6ba65197da493d0593e7c (MD5) / Made available in DSpace on 2018-01-22T22:53:37Z (GMT). No. of bitstreams: 1 O Fant?stico Mundo das F?bulas_uma interven??o para o ensino de leitura e escrita.pdf: 14370580 bytes, checksum: 365454c07fb6ba65197da493d0593e7c (MD5) Previous issue date: 2016-11-24 / This paper presents a proposal of educational intervention through didactic sequence, which has the object of teaching the mobilization of gender fable, aiming to provide students of the 6th year of elementary school II, with difficulties in literacy, opportunities to develop their competence discursive. The text is based on the studies of Geraldi (2000), Kleiman (2000, 2013), Lajolo (2002), Dezotti (2003), Soares (2005), Jolibert (2008), Dolz and Schneuwly (2010), Koch (2011 , 2015), Passareli (2012), Antunes (2013) Cosson (2014), Marcuschi (2015), Silva (2015), among others, dealing with subjects covered. The sequence used is a proposal of adaptation by Dolz and Schneuwly (2010) Although very old fables continue to attract the attention of many contemporary among others, for the production of more modern texts and / or construction of parodies and paraphrases Classics Esopo and La Fontaine, for example. We defend this text fables as a genre / discourse to be worked in the classroom, as well as being short, they become over time, and allow the various ways to exploit them, which makes students they have fun while learning allowing us a more effective and meaningful practice. / O presente trabalho apresenta uma proposta de interven??o pedag?gica, por meio de sequ?ncia did?tica, que tem como objeto de ensino a mobiliza??o do g?nero f?bula, visando proporcionar aos alunos do 6? ano do Ensino Fundamental II com dificuldades de letramento oportunidades para desenvolver sua compet?ncia discursiva. O texto fundamenta-se nos estudos de Geraldi (2000), Kleiman (2000; 2013), Lajolo (2002), Dezotti (2003), Soares (2005), Jolibert (2008), Dolz e Schneuwly (2010), Koch (2011; 2015), Passareli (2012), Antunes (2013), Cosson (2014), Marcuschi (2015), Silva (2015), dentre outros, que tratam dos assuntos abordados. A sequ?ncia utilizada ? uma adapta??o da proposta apresentada por Dolz e Schneuwly (2010). Embora muito antigas, as f?bulas continuam atraindo a aten??o de diversos autores contempor?neos para a produ??o de textos mais modernos e/ou a constru??o de par?dias e par?frases de cl?ssicos de Esopo e La Fontaine, por exemplo. Defendemos, neste texto, as f?bulas como um g?nero textual/discursivo a ser trabalhado em sala de aula, pois, al?m de serem breves, transformam-se ao longo do tempo e nos permitem diversas maneiras de explor?-las, o que faz com que os alunos se divirtam enquanto aprendem, possibilitando-nos uma pr?tica mais efetiva e significativa.

據稿本複印 / 論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1993. / 參考文獻: leaves 303-313 / 周兼善. / Chapter 第一章 --- 緒論 --- p.1-6 / Chapter 第一節 --- 本論文之硏究緣起 --- p.1 / Chapter 第二節 --- 本論文的硏究步驟與研究方法 --- p.2-6 / Chapter 第二章 --- 「寓言」釋義 --- p.7-38 / Chapter 第一節 --- 「寓言」溯源 --- p.7-10 / Chapter 第一節 --- 註釋 --- p.11 / Chapter 第二節 --- 現當代學者及重要工具辭書 對「寓言」所作的界說綜述 --- p.12-23 / Chapter 第二節 --- 註釋 --- p.24-26 / Chapter 第三節 --- 對於上述諸家及工具辭書所作的界說平議 --- p.27-37 / Chapter 第三節 --- 註釋 --- p.38 / Chapter 第三章 --- 《韓非子》書中的「歷史故事」 與「歴史人物寓言」辨析 --- p.39-90 / Chapter 第一節 --- 「歷史故事」可否演化為「 歴史人物寓言」問題探析 --- p.39-56 / Chapter 第一節 --- 註釋 --- p.57-58 / Chapter 第二節 --- 《韓非子》作者採用歷史故 事或寓言為論據之去取準則 --- p.59-60 / Chapter 第二節 --- 註釋 --- p.61 / Chapter 第三節 --- 值得注意的同源異說「「歷史 故事」與「歷史人物寓言」 --- p.62-71 / Chapter 第三節 --- 註釋 --- p.72-73 / Chapter 第四節 --- 先秦寓言以人物故事為創作主流的原因剖析 --- p.74-88 / Chapter 第四節 --- 註釋 --- p.89-90 / Chapter 第四章 --- 《韓非子》寓言故事的總目及其淵源 --- p.91-133 / Chapter 第一節 --- 《韓非子》書中的寓言故事總目 --- p.91-98 / Chapter 第一節 --- 註釋 --- p.99 / Chapter 第二節 --- 《韓非子》神話與動物寓言的淵 源及其與《莊子》寓言的關係 --- p.100-111 / Chapter 第二節 --- 註釋 --- p.112-113 / Chapter 第三節 --- 《韓非子》歴史人物寓言的淵源 --- p.114-124 / Chapter 第三節 --- 註釋 --- p.125 / Chapter 第四節 --- 僅見於《韓非子》一書的寓言故事 --- p.126-132 / Chapter 第四節 --- 註釋 --- p.133 / Chapter 第五章 --- 《韓非子》寓言在人物形象塑造 上的特色及其對寓旨的表達手法 --- p.134-175 / Chapter 第一節 --- 《韓非子》寓言在人物形象塑造上的待色 --- p.134-160 / Chapter 第一節 --- 註釋 --- p.161 / Chapter 第二節 --- 《韓非子》寓言對寓旨的表達手法 --- p.162-174 / Chapter 第二節 --- 註釋 --- p.175 / Chapter 第六章 --- 《韓非子》寓言在語言藝術上的特色 --- p.176-247 / Chapter 第一節 --- 生動雋永、質樸精煉的語言藝術特色 --- p.176-186 / Chapter 第一節 --- 註釋 --- p.187-188 / Chapter 第二節 --- 善於營造氣氛懸念、情節 出人意表的語言藝術特色 --- p.189-200 / Chapter 第二節 --- 註釋 --- p.201-202 / Chapter 第三節 --- 藉層遞、排偶句式以加強 文章氣勢的語言藝術特色 --- p.203-229 / Chapter 第三節 --- 註釋 --- p.230-235 / Chapter 第四節 --- 筆鋒帶有孤鬱怨憤感情的語言藝術特色 --- p.236-245 / Chapter 第四節 --- 註釋 --- p.246-247 / Chapter 第七章 --- 《韓非子》寓言對後世文學的影響 --- p.248-289 / Chapter 第一節 --- 《韓非子.和氏》「和氏獻璧」 後世詩文的巨大影響 --- p.248-258 / Chapter 第一節 --- 註釋 --- p.259-262 / Chapter 第二節 --- 《韓非子》書中其他寓言對後世詩文的影響 --- p.263-277 / Chapter 第二節 --- 註釋 --- p.278-281 / Chapter 第三節 --- 《韓非子》寓言對後世小說的影響 --- p.282-288 / Chapter 第三節 --- 註釋 第 --- p.289 / Chapter 第八章 --- 結語 --- p.290-302 / 附錄： / Chapter 甲、 --- 參考書目 --- p.303-310 / Chapter (一） --- 有關韓非子及《韓非子》之參考書目 --- p.303-304 / Chapter (二） --- 有關寓言研究之參考書目 --- p.304-306 / Chapter (三） --- 一般參考書目 --- p.306-309 / Chapter (四） --- 專門工具辭書及索引書目 --- p.309-310 / Chapter 乙、 --- 參考論文 --- p.311-313