No description available.

This thesis attempts to analyse the status of the 16th-century narrative---history, novel, epic---in its historical (instead of 'literary') context. The standard 'poetical' categories have been overlooked in favour of an axiology of 'truth' and 'falsehood' that overshadows all discourse from the end of the 15th to the beginning of the 17th century. Abandoning the traditional avenues of poetics (appraisal, classification, definition), this thesis studies writing and human invention in their relation to the presence or evocation of a transcendental divinity. / Christianity establishes a permanent break with both idolatrous paganism and iconoclastic Judaism so as to impose a new 'iconophile' relation to art: icons and poetical figures will be valued insofar as they constitute an evocation of the divine otherness and transcendence. Christianity encourages, within parameters rigourously established (by Tertullian, Augustine and Alain de Lille, among others) the writing of new texts dedicated to the enlightenment of faithfuls and of new Christians, as well as to the defense of faith against heresy and to the formation of clergymen. This thesis argues that medieval and many Renaissance narratives were written in this Christian perspective. / In the beginning of the 16th century, the monarchy increasingly favoured the emancipation of a learned institution that would rival the ecclesiastical university, a learned institution that would also seek to redefine the foundations of Christian faith and, in so doing, provide the king with powerful ideological weapons. The narrative---be it historical or fabulous---was initially linked to the Christian tradition, which makes of all writing an evocation of divinity. But, progressively, the narrative started to take position against the temporal dominion of the Church in favour of a power at once monarchistic and Christian (such is for instance the perspective of Dante Alighieri). / The scope of this thesis is thus twofold. On one hand, it argues that the 16th-century narrative cannot be apprehended within the parameters of our modern literary institution. That is, a text is never conceived as an imitation of reality possessing an independent status and constituting an end in itself, as will be established by the analysis of French narratives and paratextual commentaries from the 16th century (including the Illustrations de Gaule et singularites de Troyes by Jean Lemaire de Belges, the narratives of Rabelais, Helisenne de Crenne and Herberay des Essarts, and the epic poems of Ronsard and d'Aubigne). On the other hand, it studies the 'other,' historically predominant, cultural institution. In other words, it studies the absence of a 'literary' outlook as such (and therefore the absence of labelled genres such as 'the Novel', 'the Epic'), and the predominance of Christian thought in the establishment of a new secular (that is non ecclesiastical) cultural institution.

M.A. (French) / This study examines the Comptes amoureux, Le Printemps and L'Esté, three frame novels of the sixteenth century in which the setting plays an important rôle. The setting in both the framework and the seven interpolated tales of the Comptes amoureux by Jeanne Flore is largely responsible for their thematic cohesion. Since parts of the volume have been lost, a garden is the only remaining setting in which the storytellers are presented. The garden constitutes a charming spot, containing many features traditionally encountered in descriptions of literary pleasances, including a preponderance of elements representing Venus. These emblems keep the theme of love, illustrated in each of the interpolated stories, constantly in view. Jacques Yver's work, Le Printemps d'Yver, contains five stories about love narrated by a group of storytellers who have retired to a country seat created by fairy enchantment. Since the frame narrative has been developed more in this collection than it appears to have been in the admittedly fragmentary Comptes amoureux, it permits the detailed description of the many distinguishing features of the gardens in which the company sit, particularly of various emblems of Venus. These garden settings provide a great many motifs which are taken up by the storytellers in their narrations, establishing an intimate relationship between the setting and the themes of the stories and thereby constituting an important difference between Le Printemps and the other two works. In this frame novel, settings within the stories themselves are not usually elaborated. Those which are presented in detail mirror the setting in which the storytellers are gathered, further strengthening the cohesion between framework and tale. The evocation of Venus, together with the motifs introduced by the outstanding features of the gardens, strengthen the bond between the disparate narratives, drawing attention to the subject of love and contributing greatly to the thematic unity of the work. In Benigne Poissenot's volume, L'Esté, the setting is not approached in the same way as it is in either of the other two works. As in the case of Le Printemps, it is painted in detail in the frame narrative rather than in the interpolated stories, but here the resemblance ends. The debates and stories are launched in three comparatively unadorned places. Although two of these are reminiscent of the attractive settings encountered in the other two works, the author emphasises their utility rather than their beauty. This incongruity, combining a down-to-earth backdrop with the often idealistic stories, constitutes the most striking feature of this volume. Unlike the traditional settings in the other two frame novels, the decor of L'Esté, by its very distance from the conventionally idyllic, ndermines the serious nature of the themes discussed, producing a mildly satirical effect. Thus, the setting in each of these three frame novels plays an instrumental, and unique, role in establishing the overall unity of each work.

No description available.

No description available.

L'objectif de cette thèse est de présenter la traduction en portugais d’Alector, histoire fabuleuse, de Barthélemy Aneau, œuvre publiée en 1560 à Lyon par Pierre Fradin. Cette thèse s’organise en deux parties. Partie A: étude critique de la ville imaginaire d’Orbe développée en trois étapes: a) l’analyse des aspects généraux du texte, en particulier le jugement d’Alector; b) la dimension utopique de la ville orbitaine; et, c) sa dimension religieuse. Partie B: étude qui a préparé la traduction et contient deux chapitres: le premier vise à caractériser le travail, à discuter le sens du choix de narrativa, à présenter son auteur et une analyse générale des résultats des recherches menées dans des Archives; le second propose de réfléchir sur le processus de traduction d’Alector. La conclusion est suivie par la traduction d’Alector, narrativa fabulosa. Les Annexes regroupent des documents retrouvés au cours de la recherche dans les Archives en France, en Italie et dans la Cité du Vatican / This thesis presents the Portuguese translation of Alector, histoire fabuleuse by Barthelemy Aneau, published in Lyon in 1560 by Pierre Fradin. Our thesis is made up of two parts: Part A contains a critical study of the imaginary town of Orbe and is made up of three sections: first, the analysis of the general aspects of the work; second, the utopian dimension of the city of Orbe and third, its religious dimension. Part B contains the study that prepared the translation and features two sections: the first one characterizes the work, discusses the meaning of the narrative in its context, and introduces its author; it also contains the general analysis of the results of the research conducted at the archives. The second section reflects on the process of translating Alector. The conclusion is followed by the bilingual translation of Alector, histoire fabuleuse. The appendices list the documents we looked up at the archives and libraries in France, Italy, and the Vatican City

Orientadores: Carlos Eduardo Ornelas Berriel, Marie-Luce Demonet / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T15:31:30Z (GMT). No. of bitstreams: 1 Greis_YvoneSoaresdosSantos_D.pdf: 42909080 bytes, checksum: 8ba649c06ff16dc64d3e68e603b7e412 (MD5) Previous issue date: 2013 / Resumo: O objetivo dessa tese é apresentar, em português, a tradução de Alector, histoire fabuleuse, obra de Barthelemy Aneau, publicada em 1560, em Lyon, por Pierre Fradin. A tradução dessa narrativa fabulosa inscreve-se no projeto de tradução de utopias literárias, como uma das linhas de pesquisa coordenada pelo professor Dr. Carlos Eduardo Ornelas Berriel, no Departamento de Teoria Literária do Instituto de Estudos da Linguagem da Universidade de Campinas, e foi co-orientada pela professora Dra Marie-Luce Demonet, do departamento de Letras Modernas, área Renascimento, do Centre d'Études Supérieures de la Renaissance, durante os dois anos de permanência na cidade de Tours, França (março de 2010 a março de 2012) e até o encerramento do doutorado. As evidências decorrentes de uma leitura linear dessa obra podem encobrir uma profusão de elementos que se distribuem em uma espiral de interesses de seu autor que vão do exercício da Retórica e defesa do vernáculo a um exercício da "ironia" pelo uso da palavra onde falta a liberdade para a sua expressão. Uma abordagem que desvie da linearidade parece ser uma das condições para se prosseguir nos desvendamentos de Alector. A hipótese de que personagens reais pudessem estar travestidos em personagens de ficção orientou a escolha metodológica: pesquisa bibliográfica e abordagem de diferentes centros de documentação, como os Arquivos da cidade de Bourges, Lyon, Paris, Vanves, Roma e Cidade do Vaticano. Intentou-se estabelecer vínculos entre a morte trágica de Barthélemy Aneau e as suspeitas de infiltração calvinista no Collège de la Trinité, onde Aneau foi "Principal" e justificar Alector como metáfora ou ironia de seu tempo. Essa tese organiza-se em duas partes: a Parte A cumpre oferecer um estudo crítico da cidade imaginária de Orbe. Essa parte constitui-se de três momentos: as análises de aspectos gerais da obra, principalmente o julgamento de Alector e o diálogo dos anciãos; a dimensão utópica da cidade orbitana; e, finalmente, a sua dimensão religiosa e a Parte B compreende o estudo que preparou a tradução e contém dois capítulos: o primeiro procura caracterizar a obra, discute o sentido da narrativa em seu contexto e apresenta seu autor, além de uma apresentação geral dos resultados das pesquisas realizadas nos arquivos; o segundo intenta refletir sobre o processo tradutório de Alector, visando a justificar a tradução filológica como uma das perspectivas possíveis de tratamento do corpus submetido ao trabalho de análise, a explicitar o referencial teórico, bem como as etapas de organização do trabalho de tradução. A conclusão retoma sucintamente a discussão apresentada nessas duas partes e vem seguida da tradução bilíngue de Alector, narrativa fabulosa. Os Anexos apresentam o repertório de documentos consultados nos Arquivos e bibliotecas na França, Itália e Cidade do Vaticano. As buscas nos Arquivos não revelaram nenhuma evidência que pudesse confirmar a hipótese anunciada, mas apontaram pistas para o prosseguimento da pesquisa: lacunas encontradas nos documentos da Nunciatura da França e documento inédito encontrado na Bibliothèque muncipale de Lyon sobre a morte do médico encarregado da "autópsia" do corpo de Barthélemy Aneau. Depois da tradução oferecida pelo médico inglês John Hammond, em 1590, espera-se que "Alector, narrativa fabulosa" possa contribuir a fomentar o interesse pelas utopias literárias produzidas durante o período do Renascimento / Abstract: This thesis presents the Portuguese translation of Alector, histoire fabuleuse by Barthelemy Aneau, published in Lyon in 1560 by Pierre Fradin. The translation of that fabulous story is part of the translation project of literary utopias and one of its research lines, supervised by Professor Carlos Eduardo Ornelas Berriel of the Department of Literary Theory of the Instituto de Estudos da Linguagem of the University of Campinas (São Paulo, Brazil); it was co-directed by Professor Marie-Luce Demonet of the Department of Modern Languages, Renaissance Studies, of the Centre d'Études Supérieures de la Renaissance during a two-year doctorate exchange program in the city of Tours, France (March 2010-March 2012). A linear reading of Alector could hide a variety of elements that are distributed in a spiral of interests by the author, ranging from the exercise of Rhetoric and the defense of the vernacular to a practice of 'irony' by the use of speech where freedom of expression lacks. Therefore, a non-linear approach seemed to be a prerequisite to progress in the research and in the interpretations of that work. The assumption that real people could hide behind the fictional characters guided our methodological choices: a survey of the literature and visits to several documentation centers, such as the archives of the city of Bourges, Lyon, Paris, Vanves, Rome, and the Vatican. We aimed to find a connection between the tragic death of Barthélemy Aneau and the suspected Calvinist infiltration at the Collège de la Trinité managed by Aneau and we wanted to demonstrate that Alector is a metaphor or irony of its time. Our thesis is made up of two parts: Part A contains a critical study of the imaginary town of Orbe and is made up of three sections: first, the analysis of the general aspects of the work, especially Alector's trial and the dialogue of the elder; second, the utopian dimension of the city of Orbe and third, its religious dimension. Part B contains the study that prepared the translation and features two sections: the first one characterizes the work, discusses the meaning of the narrative in its context, and introduces its author; it also contains the general analysis of the results of the research conducted at the archives. The second chapter reflects on the process of translating Alector and was developed to justify the philological translation as one of the possible ways of treating the analyzed corpus, to explain both the theoretical basis and the organizational stages of the translation. The conclusion briefly resumes the discussion presented in these two parts and is followed by the bilingual translation of Alector, histoire fabuleuse. The appendices list the documents we looked up at the archives and libraries in France, Italy, and the Vatican. Our research at the archives did not produce any proof that would confirm our hypothesis, but revealed leads for future research, such as the gaps found in the documents of the Nunciature in France or an unpublished document found at the Municipal Library of Lyon on the death of the physician in charge of the "autopsy" of Barthelemy Aneau's body. After the translation provided by the English doctor John Hammond in 1590, we hope that 'Alector, histoire fabuleuse' may contribute to raise interest in the literary utopias of the Renaissance / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária