La poésie et la cosmologie sont étroitement liées depuis l’Antiquité. Des traités d’astronomie didactiques en vers aux récits mythologiques, en passant par les hypothèses cosmologiques versifiées sur la structure de notre monde, les formes de ce dialogue sont aussi nombreuses que diverses. Or les échanges féconds entre poésie et cosmologie perdurent à travers les âges, pour culminer au XIXe siècle, dont les débuts marquent une promotion remarquable de la nuit dans l’imaginaire littéraire, à compter du premier Romantisme européen. Le cosmos, source inépuisable d’enchantement poétique, devient au XIXe siècle un sujet d’autant plus riche que les découvertes scientifiques bouleversent notre conception des cieux, ouvrant la voie à une cosmologie moderne gouvernée par les mathématiques et l’astrophysique. En France, poésie et cosmologie connaissent alors un ensemble de mutations dues à une crise de légitimité engagée par le discours positiviste. L’enquête montre comment le contexte de redéfinition des méthodes scientifiques et de renversement progressif de la hiérarchie des discours entre science et Belles-lettres a informé le dialogue entre la poésie et la cosmologie, dans le cadre d’une redéfinition parallèle de leurs formes, enjeux et valeurs. En étudiant le moment de cette transition, elle permet de porter un regard nouveau sur un ensemble de problématiques majeures qui traversent la poésie du second XIXe siècle : la forme totale et le problème du didactisme, la hiérarchie des discours de la science et de la poésie, et la question du sacerdoce poétique au regard d’un renouvellement du rapport à la mythologie. / Since Antiquity, there has been a close relationship between poetry and cosmology. We can perceive the coevolution of these two disciplines in a wide range of different poetic forms: mythological tales, versified didactic treatises, or versified cosmological hypotheses on the structure of worldly existence. Nineteenth-century France witnesses particularly intense debates about the nature of both poetry and cosmology, however, and the functions of these two disciplines increasingly merge, especially after Romanticism. The cosmos assumes a new relevance as both the subject of scientific investigation and poetic creation. In this period of history, crucial scientific discoveries change our perception of the skies and give rise to the modern science of cosmology, based on the principles of mathematics and astrophysics. The legitimacy of both poetry and cosmology is tested by positivist discourse, as the definition of scientific methods change and the hierarchy between science and literature is inverted. This study shows the importance of this historical context in the dialogue between poetry and cosmology. Focusing on this crucial historical turning point, this thesis sheds a new light on various major issues that French poets faced in the second half of the twentieth century: the poetic quest for a totalizing form, the difficulties posed by the didactic genre, the value of domains of knowledge and literature, the question of the religious mission of poetry, and the renewal of mythology at the time.

On a souvent considéré qu’au cours du XVIIIe siècle s’opérait une mutation dans l’histoire du genre biographique, qui se manifestait par le passage des « Vies » aux « biographies ». Pourtant d’importantes transformations affectent la manière de raconter la vie dès la fin du XVIe siècle. Ces changements sont particulièrement sensibles dans un sous-genre de la biographie, la Vie d’écrivain. En effet, outre l’affaiblissement de la pression rhétorique qui touche les pratiques narratives dans leur ensemble, celle-ci est modifiée par une nouvelle habitude éditoriale qui consiste à inclure une Vie de l’auteur en avant-propos de l’oeuvre et par l’évolution du statut de l’écrivain qui commence à se différencier des autres hommes de lettres. Pour comprendre la spécificité du genre, il convient de définir les conditions de production de la Vie d’écrivain, liées aux nouvelles exigences de l’historiographie et au développement de la culture mondaine, en particulier de l’art de la conversation. La Vie d’écrivain permet, par ailleurs, de mesurer l’évolution du régime de l’exemplarité, à travers la régression des modèles éthiques traditionnels, l’apparition de nouveaux modèles, mais aussi la recherche de plus en plus affirmée d’une singularité de l’auteur. Il faudra enfin s’interroger sur l’apport particulier des Vies d’écrivains à l’histoire littéraire, en relation avec la place accordée à la narration, qui constitue l’évolution majeure du genre au XVIIIe siècle. Ces différentes questions, rencontrées au fil de notre travail, nous aideront à mieux comprendre les ressorts d’une démarche inhérente à la biographie d’écrivain : le va-et-vient entre la vie et l’oeuvre. / It has often been considered that, throughout the 18th century, there took place a profound change in the history of biographical genre, expressed by the shift from “Lives” to “biographies”. However, important transformations have affected the way of telling life as far back as the end of the 17th century. The changes are particularly noticeable in one subgenre of biography, the Lives of writers. Actually, besides the weakening of the rhetorical pressure which concerns the narrative practices, as a whole, it is altered by a new editorial habit which consists in including a Life of the author as a preface to the works and by the evolution of the status of the writer who, then, starts differing from other men of letters. So as to understand the specificity of the genre, it is advisable to define the conditions of production of the Lives of writers, linked to the new demands of historiography and to the development of society culture, particularly the art of conversation. Furthermore, the Lives of writers allows to assess the evolution of the system of exemplarity, through the regression of traditional ethical models, the appearance of new models, but also the search – more and more emphasized – for the writer’s peculiarity. At last, we shall have to wonder about the particular contribution made by the Lives of writers to literary history, in relation to the place granted to narration, which constitutes the major evolution of the genre in the 18th century.These different questions, raised throughout our work, will help understand the motives of a process inherent in biographies of writers, namely, going back and forth between life and works.

Made available in DSpace on 2016-04-28T19:34:12Z (GMT). No. of bitstreams: 1 Alaide A S Fernandes.pdf: 3165592 bytes, checksum: 2f8f3e68dc16534bf21f7fec11c8d2a4 (MD5) Previous issue date: 2007-05-11 / This doctorate research carried out in the Postgraduate Studies Program of the São Paulo Pontifícia Universidade Católica, studies the discursive text genres restricted to the production activities of students from 5th to 8th grades of the elementary school, at the Education for Youths and Adults (EJA) level. The general objective of this research is to contribute to a more adequate teaching of language activities, through the conciliation of the sociodiscursive theories with text production practices. The specific objectives are: 1) identify the predominant textual genres in discursive activities of the EJA students; 2) identify structural and functional characteristics of these genres; 3) present a proposal for the teaching of reading for these students, based on the data obtained by this research. This research is justified because, currently, there is a sociointeractionist trend in the studies of language, recommending that language teaching-learning should be based on the teaching of textual genres. This way, the National Curricular Parameters (PCN), official document, which guides the elaboration of pedagogical proposals at schools, proposes a systematization of determined genres. Based on the hypothesis that the speakers of a language do not use the same discursive textual genres, we understand that it is necessary to identify the genres that permeate the discursive practices of the EJA students and, afterwards, study them to know them better and apply them, didactically, in the teaching of the mother language. Two areas provide theoretical basis for this research: the Text Linguistic and the Discourse Linguistic. The first has supplied the basis for the study of the linguistic and textual genre mechanisms and the second has subsidized the study of the discursive complexity based on which the genres are constituted. The results obtained allow the possibility to extend a second thought to the production practices under the perspective of two textual genres: the flyers and the news / Esta pesquisa de doutorado realizada no Programa de Estudos Pós-Graduados da Pontifícia Universidade Católica de São Paulo faz um estudo dos gêneros textuais discursivos restritos às atividades de produção dos alunos de 5ª a 8ª séries do Ensino Fundamental, que cursam a Educação de Jovens e Adultos (EJA). O objetivo geral do trabalho é contribuir para um ensino mais adequado das atividades de linguagem, por meio da conciliação das teorias sócio-discursivas às práticas de produção de textos. Os objetivos específicos são: 1) identificar os gêneros textuais predominantes nas atividades discursivas dos alunos da EJA; 2) identificar as características estruturais e funcionais desses gêneros; 3) apresentar uma proposta para o ensino de leitura para esses alunos, a partir dos dados obtidos nesta investigação. Esta pesquisa se justifica porque, atualmente, existe uma tendência sóciointeracionista no estudo da linguagem que recomenda que o ensino-aprendizagem da língua deve basear-se no ensino dos gêneros textuais. Nesse sentido, os Parâmetros Curriculares Nacionais (PCN), documento oficial que orienta a elaboração de propostas pedagógicas nas escolas, propõem a sistematização de determinados gêneros. Tendo por hipótese que os usuários de uma língua não se utilizam dos mesmos gêneros textuais discursivos, entendemos que é necessário identificar os gêneros que permeiam as práticas discursivas dos alunos da EJA e, em seguida, estudá-los, para melhor conhecê-los e utilizá-los, didaticamente, no ensino de língua materna. Duas áreas dão sustentação teórica a esta pesquisa: a Lingüística do Texto e a Lingüística do Discurso. A primeira fundamentou o estudo dos mecanismos lingüísticos e textuais do gênero; a segunda subsidiou o estudo da complexidade discursiva na qual os gêneros se constituem. Os resultados obtidos possibilitam repensar as práticas de produção sob a perspectiva de dois gêneros textuais: o panfleto e a notícia

Made available in DSpace on 2016-04-28T19:34:43Z (GMT). No. of bitstreams: 1 Elaine Valencise Hidalgo de Moraes.pdf: 2405183 bytes, checksum: 9480a5e10e5211778159d46a5b0c7bc5 (MD5) Previous issue date: 2009-12-11 / This study aims to analyse a website homepage which contains fanfictions - stories written by fans under the perspective of the socio-rhetorical analysis of textual genres. Specific objectives include: to understand the organisation of the admiring readers and writers of online fanfictions, checking how such groups might fall under the Swales (1990) concept of discourse communities, which he applies to academic communities; to outline a characterization of a fanfiction website and the existing involvement among its users; to discuss the situational context within which the digital fanfiction activities evolve; and to see if Askehave and Nielsen's (2004) bidimentional model of analysis of web files can be applied to the homepage of a fanfiction website. The corpus is the result of a research of ethnographic nature carried out on a specific fanfiction website: Fanfic Addiction. Focus falls primarily on the application of the Swales (1990) criteria of discourse communities to the website user group and on the application of Bhatia's (1993) methodology to the study of textual genres. Attention then shifts to the study of the website homepage using Askehave and Nielsen's (2004) model for digital genres. This study shows that readers and writers of Fanfic Addiction, according to Swales (1990) criteria, are a discourse community, even if they do not constitute an academic community. This study also yields other significant insights, namely the light shed on the context of production of fanfictions, the involvement between admiring readers and writers, and the historical aspects pertaining to such activity. With regards to the study of the fanfiction homepage, it was also observed the feasibility of applying to this genre of website the bidimentional model of analysis, in which the close relationship between the digital environment and textual genres is considered / Esta pesquisa tem como objetivo geral analisar uma homepage de um website que abriga fanfictions histórias escritas por fãs sob a perspectiva dos estudos sócio-retóricos de gêneros textuais. Dentre os objetivos específicos estão: compreender a organização de fãs leitores e escritores de fanfictions online verificando como esse grupo encaixa-se no conceito de comunidade discursiva de Swales (1990) aplicado por ele em comunidades acadêmicas; apresentar a caracterização de um website de fanfictions e o envolvimento existente entre os seus usuários; discutir o contexto situacional em que se inserem as atividades de fanfictions no meio digital; e verificar se o modelo bidimensional para a análise de documentos da web de Askehave e Nielsen (2004) aplica-se à homepage de um site de fanfictions. O corpus é resultado de uma pesquisa de cunho etnográfico, realizada em um website específico de fanfictions - Fanfic Addiction. Focalizou-se, primeiramente, a aplicação dos critérios de comunidade discursiva de Swales (1990) ao grupo dos usuários do site e a aplicação da metodologia de Bhatia (1993) para o estudo de gêneros textuais. Em seguida, procedeu-se ao estudo da homepage do site tendo em vista o modelo de Askehave e Nielsen (2004) para gêneros digitais. O estudo mostra que os leitores de escritores do Fanfic Addiction, segundo os critérios de Swales (1990), constituem uma comunidade discursiva, mesmo em se tratando de uma comunidade não acadêmica. Ainda como resultados da análise, destacam-se os esclarecimentos obtidos sobre o contexto de produção das fanfictions, o envolvimento de fãs leitores e escritores e os aspectos históricos relativos a essa atividade. Quanto ao estudo da homepage de fanfictions verificou-se ainda a viabilidade em aplicar, nesse gênero da web, o modelo bidimensional de análise em que se considera a estreita relação entre o meio digital e os gêneros textuais

Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1 Maria Helena da Silva Correa Pinho.pdf: 614154 bytes, checksum: dc0be8e50d1aadce67c980429dac3c3e (MD5) Previous issue date: 2011-10-04 / The specific objectives sought to demonstrate Drummond‟s skillfulness at moving between the various literary genres. In his work there is an intermingling of prose fiction, nature studies, literary criticism and essays, all in a poetic and metalinguistic dimension. We set out to identify and critically examine the aesthetic phenomena of intertextuality, the meta-language and elements of orality, characteristic of modern prose. As theoretical basis we resort to concepts of the poetic function of language of Roman Jakobson, the incorporation of mass media, the breakdown of genres, the merger between prose and poetry, problematized by Haroldo de Campos and Octavio Paz. However, we found that drummondiana chronic fulfills its function, as in reporting the facts of daily life, makes for a seemingly uncompromising light, but reveals an intense and thoughtful literary figure / Esta dissertação de Mestrado analisa a obra de Carlos Drummond de Andrade, em particular a crônica - um gênero em trânsito. Para análise do corpus, escolhemos as crônicas: Divagação sobre as ilhas , Carta aos nascidos em maio , do livro Passeios na ilha(1962); Lembra-se de maio, Caso de escolha e Caso de ceguinho , do livro Cadeira de Balanço(1966) e Surge o poeta da flor do livro Caminhos de João Brandão(1970). Como objetivos específicos procuramos demonstrar a maestria com que Drummond transita entre os diversos gêneros literários. Na sua obra há um entrelaçamento da prosa ficcional, estudos de natureza ensaística e critica literária, tudo numa dimensão poética e metalingüística. Propusemo-nos à identificação e exame critico dos fenômenos estéticos da intertextualidade, da metalinguagem e de elementos da oralidade, característicos da prosa moderna. Como embasamento teórico recorremos à conceitos da função poética da linguagem de Roman Jakobson, à incorporação do meios de comunicação de massa, à ruptura dos gêneros, à fusão entre a prosa e a poesia, problematizados por Haroldo de Campos e Otávio Paz. Contudo, observamos que a crônica drummondiana cumpre sua função, pois ao relatar os fatos do cotidiano, o faz de uma forma leve aparentemente descompromissada, mas que deixa transparecer uma personalidade literária intensa e reflexiva

Les nouvelles du XVIe siècle sont souvent lues comme de simples passe-temps, loin derrière les livres de Rabelais. Pourtant, cette littérature labile est dotée d’une « grande variété de formes narratives qui témoignent de [s]a souplesse et de [s]a plasticité […], laboratoire des expériences romanesques à venir » (D. Souiller, La nouvelle en Europe de Boccace à Sade). Il est ainsi difficile de conférer une identité générique à ces textes. En l'absence d’arts poétiques contemporains, la critique propose des définitions discutables. Trop restrictives ou partiales, elles aboutissent à un compromis : donner des caractéristiques majeures (brièveté, moralité, bon tour, bon mot, « réalisme », etc.), sans nettement distinguer le genre de formes narratives voisines (discours bigarrés, histoires tragiques). Pourtant, une autre piste est possible : adopter le point de vue des auteurs de romans comiques pour profiter d'une pratique d'écriture nourrie des conteurs de la Renaissance et d'une réception littéraire plus proche de celle des lecteurs du XVIe siècle, soit affiner les analyses modernes pour aspirer à établir la première liste de critères génériques fiables et opératoires. / Read short stories from XVIth french century, it’s like reading fancy stories or recreations, far away from Rabelais’books. However, this unsettled literature has a « grande variété de formes narratives qui témoignent de [s]a souplesse et de [s]a plasticité […], laboratoire des expériences romanesques à venir » (D. Souiller, La nouvelle en Europe de Boccace à Sade). It’s difficult, indeed, to give a set generic identity at these texts. Without contemporary arts of poetry, modern critics suggest debatable definitions. Too restrictive or partial, those definitions end up at a compromise : to give main characteristics (brevity, moral, good trick, good word, « realism », etc.) without make a clear distinction with close narrative forms (« discours bigarrés », « histoires tagiques »). Yet, there is another path : take the point of view of « romans comiques »’ authors in order to take advantage of a writing fed from Renaissance’s storytellers and of a reading closer with XVIth century’s readers, that is to say refine modern studies in order to draw up the first list of reliable and operating generic criteria.

Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiaires. / This thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books.

Les grammairiens considèrent que l’impératif est le moyen normal pour formuler une injonction. Cependant d’autres moyens tels que l’assertion, l’interrogation, les expressions averbales sont possibles. Notre thèse se propose d’étudier les caractéristiques syntaxiques, sémantiques et pragmatiques ainsi que la répartition de ces moyens en fonction des activités linguistiques pratiquées par les locuteurs. Nous avons retenu cinq situations (entretien, petit commerce, didactique – institutionnelle et didactique – amicale).Après avoir défini sur une base pragmatique, nous avons essayé de dégager les configurations très fréquentes et celles qui restent exceptionnelles, de voir comment les compétences linguistiques sont mobilisées par les locuteurs pour satisfaire les attentes normatives dans les différentes situations sociales qui constituent notre corpus. / The grammar considers that the imperative form is the normal means to formulate imperative utterances. However, other means like assertives, interrogatives and non-verbal expressions are possible. Our thesis studies the syntactical, semantic and pragmatic caracteristics of these structures and their distributions according to the linguistic activities. We have taken five situations (interview, small commerce, didactical – institutionnal, didactical – friendly).Adopting a pragmatic definition of the imperative, we tryed to figure out the frequent and exeptionnel configurations, to see how linguistic skills are mobilized by speakers to satisfy the normative expectations in these different social situations.

La hiérarchie des genres a longtemps été présentée par les historiens de l’art comme le symbole d’une « doctrine officielle » qui aurait dominé de manière univoque l’Académie Royale de Peinture et de Sculpture. Faute d’avoir fait l’objet d’un travail de définition articulé à l’étude d’archives telles que les statuts, les Procès-verbaux et les comptes rendus des conférences, elle a fini par devenir un lieu commun, si bien que la complexité de ses termes s’est parfois trouvé réduite à l’énoncé de la préface aux Conférences rédigée par Félibien. Elle est ainsi devenue le symbole d’un conflit théorique entre les détracteurs d’une Académie supposée étouffer la créativité des artistes et les tenants d’une réhabilitation face aux exagérations de l’historiographie traditionnelle. La perspective de cette recherche s’inscrit dans les interstices de ces approches différentes : interroger le sens et la fonction institutionnels de la hiérarchie des genres, ainsi que les résistances internes à ce dispositif, permet en effet d’appréhender l’Académie comme le lieu d’une conflictualité née du rapport qu’y entretiennent les notions d’art et de pouvoirs. J’étudie précisément l’incorporation de cette règle dans un programme (au sens où l’entend Foucault) – lequel s’est matérialisé dans la rédaction des statuts de décembre 1663 qui instituent une supériorité de la peinture d’histoire sur les autres genres, ainsi que dans la production d’un discours officiel. Les œuvres picturales de Desportes, Santerre, Chardin viennent par exemple déstabiliser les identités génériques solidifiées dans un règlement et ouvrent une piste de réflexion féconde quant à l’usage de la notion dynamique de généricité. / The hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres.

Cette thèse a pour objet la proposition relative dans les textes littéraires du Moyen Âge français. Partant de l’hypothèse que ses emplois, en particulier dans la chanson de geste où elle apparaît comme formule, sont subordonnés, dans une certaine mesure du moins, au contexte situationnel de l’énonciation in praesentia (ou la profération) des textes au cours de la période médiévale, nous observons ses autres emplois, dans d’autres genres également, pour éprouver l’utilité de l’approche pragmatico-énonciative appliquée à des problèmes d’ordre essentiellement syntaxique. Le résultat principal de cette étude est d’avoir montré que la combinaison de l’approche pragmatico-énonciative avec l’approche sémantico-syntaxique traditionnelle est susceptible d’apporter des éclaircissements importants sur les formes et le fonctionnement de constructions syntaxiques qui n’ont apparemment pas trait à des faits discursifs et qui se situent dans un état de langue ancien. / This thesis has as its subject the relative clause in the literary texts of the French Middle Ages. Setting forth from the hypothesis that the clause’s uses, in particular in the chanson de geste where it appears as formula, are subordinated, at least to a certain degree, to the situational context of enunciation in praesentia (or of vocalisation) of the texts during the medieval period, we examine its other uses, in other genres as well, in order to test the usefulness of the pragmatic-enunciative approach when applied to issues that are essentially syntactic. As main outcome of this investigation we proved that combining the pragmatic-enunciative approach with the semantic-syntactic one could lead to important clarifications regarding form and functioning of syntactic constructions which have no apparent relation to discursive factors and pertain to an older state of language.