Esta pesquisa surgiu do anseio de ampliar a presença da poesia de Umberto Saba no Brasil. Decidimos, por isso, selecionar e traduzir alguns de seus poemas, usando como critério de escolha o estudo da obra poética do triestino a partir da abordagem mais frequente: a relação entre o sujeito lírico e a cidade de Trieste. Escolhemos esse recorte porque acreditamos que ele possibilita fornecer uma visão abrangente da obra do autor, haja vista que, a partir dessa relação, muitas outras questões importantes para a compreensão de sua poesia podem ser estudadas, em especial aquelas questões engendradas no que denominamos de poética da vida. Com a expressão poética da vida, buscamos evidenciar uma tendência perceptível na poesia de Saba: a abertura para o que ele denomina de calda vita (vida quente), a vida percebida em toda a sua variedade, incluindo os momentos de dor e sofrimento. Nesse percurso, estudamos a relação sujeito/cidade tendo como norte a interpenetração entre a interioridade do sujeito e a matéria do mundo e, a partir daí, estabelecemos a comparação entre alguns traços da poética de Saba e de Baudelaire, mas também de Pascoli, Leopardi e dos Crepusculares. Tratamos também da temática do olhar, do desejo, das pulsões e da memória, as quais perpassam a relação sujeito/cidade. Abordamos ainda os principais aspectos formais que caracterizam a poesia do triestino, como, entre outros, a narratividade e o prosaísmo, os quais estão ligados ao que a crítica denomina realismo de Saba (a representação de cenas, fatos e personagens do cotidiano). / This research arose out of the will of spreading the presence of Umberto Sabas poetry in Brazil. We decided, thus, to select and translate some of his poems, using as a choice criterion the study of the poetical work of the italian poet out of the most frequent approach: the relation between his poetic persona and the city of Trieste. We have chosen this framing because we believe it enables a more embracing view of the work of the writer, since, from that relation, we can study many other important questions that may guide us to the comprehension of his poetry, specially those questions engendered in what we name here poetic of the life. With the expression poetic of the life, we seek to make a trend in Sabas poetry more evident: the openness to what he calls calda vita (warm life), the life realized in all its variety, including those moments of suffer and pain. In such path, we study the relation subject/city having as a north the interrelationship between the inner subject and the world matter, and from then, we establish a comparison among some features of Sabas and Baudelaires poetry, but also Pascolis, Leopardis and the Crepusculares. We also talk about the theme of the visual sense, of the desire, drives and memory, which are intertwined in the relation self/city. We talk, moreover, about the main formal aspects that characterize the poetry of the Italian, as, among others, the narrativity and the prosaicism, which are connected to what the critics call Sabas realism (the representation of scenes, facts and daily characters.)

À quelques exceptions près, dans le canon littéraire italien comme dans la réception que lui réserva la critique, la poésie de Volponi occupe une place secondaire par rapport à sa production narrative. Cela apparaît comme une contradiction, car l’auteur se considérait avant tout comme un poète. Une contradiction qui va de pair avec une biographie fort riche, qui fait de Volponi un homme et un écrivain à mi-chemin entre participation et dissidence, entre ordre et désordre. À la lumière de tout ceci, nous nous sommes interrogé sur la place que Volponi attribue à la poésie, à partir des notions mêmes d’ordre et de désordre : depuis les conquêtes scientifiques du début du XXe siècle ces derniers ne sont plus deux concepts en opposition entre eux, mais les deux faces nécessaires de toute organisation naturelle complexe, y compris humaine. Dès lors, nous avons adopté l’interaction complexe entre ordre et désordre comme clef de lecture de la poésie volponienne. Une complexité que nous avons observée au niveau tout d’abord biographique, d’où émergent les schèmes fondamentaux de la poésie de Volponi qu’on retrouve thématisés au fil de ses livres de poésie, à travers lesquels Volponi montre toujours une volonté claire de construction progressive d’un seul et unique Livre. À cette construction contribuent les outils poétiques empruntés par le poète, car ils varient en fonction de l’organisation qu’ils sont appelés à exprimer. Enfin, nous nous sommes penché sur la réflexion que mène Volponi au sujet de la poésie pour en conclure qu’à ses yeux elle n’est pas un genre littéraire, mais une force créatrice chargée de mettre en relation l’homme et la matière et les hommes entre eux. / Despite a few exceptions, Volponi’s poetry remains in the background as opposed to his narrative production, both in the Italian literary cannon and in the way it was received by critics. This seems to be a contradictory statement because the author considered himself as a poet primarily. This contradiction is inextricably linked to a very rich biography based on a plethora of life experiences and which makes Volponi a man and a writer at a crossroads between participation and dissidence, between order and disorder. I raise thus the question of the status assigned to poetry by Volponi. It was first necessary to redefine the notions of order and disorder to answer it: the scientific achievements of the beginning of the 20th century demonstrated that these two concepts are not antithetic anymore but that they are two necessary sides of any complex natural organization, including the human organization. I chose this complex interaction between order and disorder as a key to reading Volponi’s poetic work. First this complexity is to be found in Volponi’s biography, that shapes the fundamental frameworks of his poetry, frameworks which are then used as topics in each of his poetry books. In these works, the poet always clearly shows his will to elaborate progressively towards the one and only Book. Indeed, the poetic tools resorted to by the poet contribute to this elaboration because they vary according to the organization which they are meant to express. Finally, I tackled the problem of Volponi’s own reflection about poetry which leads him to conclude that poetry is not a literary genre, but a creative strength meant to connect man and matter but also man and man.

No description available.

No description available.

Thesis (Doctoral)--Université de Bordeaux III-Michel de Montaigne, U.F.R. des lettres-littérature comparée, 2000. / Includes bibliographical references and indexes.

Thesis (Doctoral)--Université de Bordeaux III-Michel de Montaigne, U.F.R. des lettres-littérature comparée, 2000. / Includes bibliographical references and indexes.

Thesis--Freiburg im Breisgau. / Includes bibliographical references (p. 186-194).

This thesis discusses Lorenzo de' Medici's era and literary work. In the first part, Lorenzo's personage is introduced and put into historical and cultural context. Given its importance for social changes, a separate chapter is dedicated to humanism and its eminent personalities. Neoplatonism and Lorenzo's patronage and cultural activities are also mentioned. The second part of the thesis is dedicated to Lorenzo de' Medici's own literary work, paying particular attention to his comical poems inspired by rustic life, especially some of his carnival chants (canti carnascialechi) and the poem Nencia da Barberino, which are then analyzed. In the conclusion, this study briefly deals with the controversy caused by the connection between Lorenzo's poetry and his government. Keywords: Lorenzo de' Medici, humanism, Neoplatonism, volgare, patronage, comical and realistic poetry, carnival chants.

From at least the twelfth century, amid the growth of commerce, towns, and universities, notaries charged with the writing of various administrative documents formed an increasingly important professional group in the Italian communes and, later, across the whole northwestern Mediterranean. A large quantity of sources from the late medieval period were written by notaries, including notarial registers, court records, and other administrative books. Unlike modern administrative records, medieval counterparts surprise us with poems that look like contracts, images that have nominal functions, prayers interspersed with the text of the official record, and musical imagery that allows us to compare notaries to musicians. What do these marginalia betray about the meaning of contractual text and the notaries as their producers?“Minds and Margins: Notarial Culture in Bologna, ca. 1250-1350” is the first interdisciplinary study of notarial registers examining how notarial acts were brought together with poems, prayers, images, and music as they were entered into the registers’ pages by the notaries themselves. It demonstrates that to understand the contents of a quantitatively important source of medieval economic, social, legal, and political history—records written by notaries—we must not only take into account the social and legal-institutional contexts of their production, but also the cultural and religious worlds that shaped the registers and the minds of their makers, the notaries. “Minds and Margins” thus explores how notaries absorbed cultural modes of thought and practice and applied them to their administrative work. Examining poetry, images, music, and prayers in notarial registers—evidence that is not only physically located on the margins, but that has also been marginalized by previous scholars—I argue that notaries were both accountable officials and creators of an ideal urban order, using their culture to define contractual and institutional relationships. Bologna is at the center of this research because of its wealth of surviving notarial records and its university functioning as medieval Europe’s leading institution for the study of law. Moreover, the density and variety of archival records in Bologna provides the opportunity to draw out the connections notaries forged between the marginalia and their profession. Chapter 1, “Medicine and Literature in Salatiele’s Ars notarie,” treats notaries’ formation and shows how Salatiele (d. 1280), a Bolognese notary and jurist who maintained a school for notaries, relied on Galenic medical theory and Ovidian verses to theorize notarial instruments and notaries’ professional roles. I argue that Galen and Ovid allowed Salatiele to conceptualize the intellectual underpinnings of commercialization and monetization as ordering principles of the common good. Chapters 2 through 5 observe notaries at work to demonstrate how they used different cultural media to shape documentary principles and practices. Chapter 2, “Trustworthy Lovers,” examines poems notaries entered into the registers of the Memoriali, a Bolognese office that collected all notarial contracts involving sums of 20 lire. The two textual genres, poems and contracts, contain parallels in their formal and thematic frameworks. I argue that the poems are media by which notaries established for their colleagues and the public their own trustworthiness and ability to write truthfully. Chapter 3, “Signing with Religious Imagery,” examines signs that are analogous to monstrances and other religious objects notaries drew as part of signatures. I argue that in using images of devotional objects as signature signs, notaries were staking a claim to be creators of a quasi-sacred urban order. In Chapter 4, “The Music of Instruments,” I examine how the experience of music shaped notaries’ perceptions of contracts and their professional self-images. Liturgical chant may have inspired notaries’ reading practices, influencing their manner of reading instruments aloud to the contracting parties. From there, I turn to a broader question of the relationship between musical instruments and notarial instruments. The musical portrait of Zachetus de Viola can be seen as relating his musical skill to his reputation not only as a musician but also as a notary. While the teacher of notarial arts, Salatiele, turned to Galen and Ovid, former students drew on music and musical instruments as models for the social harmony they saw themselves constructing with notarial “instruments,” the technical term used for contracts. “Contracts,” “court records,” and “registers” are familiar legal terms. “Minds and Margins” argues that to medieval notaries, they could also mean musical instruments or poems—sometimes both at once. By examining the margins of notarial registers, we discover that the contracts, court records, and texts of other notarial acts at the center of today’s state archives in fact took shape out of a much broader cultural context. In this sense, “Minds and Margins” contributes to our understanding of historical margins as places that shaped the center—urban administrations, contractual and institutional relationships—in unexpected ways. The present research urges us to reconsider contractual and administrative principles—too hastily accepted by previous scholars as predecessors of their modern counterparts—through the lens of the minds of those who shaped them, medieval people.

Une analyse détaillée de la poésie pour enfants en Italie dans une direction multidisciplinaire (historique, thématique, rhétorique, pédagogique, sociologique) n’avait jamais été réalisée ni commencée jusqu’à aujourd’hui. Le présent ouvrage est donc le premier à prendre en considération une gamme chronologique suffisamment large - de 1945 à nos jours - qui traitent de problèmes éparpillés dans les différents chapitres de littératures pour enfants ou dans des articles de revues spécialisées. Malgré le grand intérêt que l’industrie de l’édition a manifesté dans le passé (au moins depuis les années 60) et continue de démontrer aujourd’hui au public d’enfants, et malgré la richesse et la variété des collections dédiés à la création de poésie et de poésie, l’absence d’ un étude générale nous a paru une grave lacune. L’absence de critique systématique s’explique peut-être par le peu de prestige qui, aujourd’hui malgré tout, recouvre l’écriture destinée aux enfants, comme si l’écriture pour enfants n’était qu’un prélude à la “vraie” écriture et que la poésie pour enfants (considerée comme “simplifiée”) n’était qu’une condition préalable de la “vraie” poésie.Nous pensons donc tout d’abord avoir démontré l’importance de la poésie dans l’enfance même et de sa grande importance dans le processus d’éducation et d’éducation esthétique. A notre avis, la critique ne peut en effet pas être soumise à des principes didactiques ou moraux, mais doit tenir compte de cette démarche artistique : le recueil de poésie pour enfants doit donc satisfaire ses besoins (curiosité, jeu, besoin de s’exprimer) et constituent en même temps un véritable pont entre l’art, la littérature et la musique. L’apport de disciplines telles que la sociologie, en particulier les réflexions sur la société et la culture dites “liquides” théorisées par Zygmunt Bauman ont enrichi les élaborations proposées.Une autre nouveauté est d’avoir mené une étude sur le genre dans le domaine de la poésie de l’enfance. Bien que non définitive, cette enquête nous a permis d’élargir l’horizon de la critique.Dans le contexte des auteurs, nous pensons avoir eu le mérite de nous rappeler des auteurs peu présents (ou totalement absents) dans les anthologies de poésie pour enfants, tels que Tommaso Landolfi, Giulia Niccolai, Rossana Ombres et Giovanni Arpino et pour avoir revendiqué et réservé espace particulier à Giuseppe Pontremoli et Pierluigi Cappello. Dans le contexte des anthologies, nous pensons également, à juste titre, que nous avons inclus l’analyse (et l’évaluation) d’anthologies pour enfants dans l’étude de l’anthologie poétique (en particulier celles de Roberto Antonelli dans « Critica del testo » et Niccolò Scaffai), une opération complètement nouvelle. L’anthologie proposée suit donc les critères mis en évidence et diffère considérablement de celles du passé et de celles actuellement sur le marché. / A detailed analysis of poetry for children in Italy in a multidisciplinary direction (historical, thematic, rhetorical, pedagogical, sociological) had never been carried out, nor started until today. The present work is therefore the first that takes into consideration a sufficiently wide chronological range - from 1945 to the present - dealing with issues that were found scattered in the various chapters of literatures for children or in articles in specialized magazines. Despite the great interest that the publishing industry has shown in the past (at least since the Sixties onwards) and still demonstrates today towards the public of children, and despite the richness and variety of necklaces dedicated to the creation of poetry and poetry, the lack of a general study seemed to us a serious gap. The absence of a systematic critique can perhaps be explained by the little prestige that still today, despite everything, covers the writing intended for children, as if writing for children were only a prelude to “true” writing, and poetry addressed to children a simple (and simplified) premise of “true” poetry.We therefore think, first of all, of having demonstrated the importance of poetry for childhood in itself and its great significance in the process of education and aesthetic education. In our opinion, the criticism cannot in fact be subjected to didactic or moral principles, but must take into account this artistic approach : the poetry book for children must therefore satisfy its needs (curiosity, play, the need to express oneself ) and at the same time constitute a real bridge to art, literature and music. The contribution of disciplines such as sociology, in particular the reflections on the so-called “liquid” society and culture theorized by Zygmunt Bauman have enriched the proposed elaborations.Another innovation is that of having carried out a gender study in the field of childhood poetry. Although not definitive, this survey has allowed us to broaden the horizon of criticism.In the context of the authors we think we have had the merit of remembering authors who are not very present (or completely absent) in the anthologies of poetry for children, such as Tommaso Landolfi, Giulia Niccolai, Rossana Ombres and Giovanni Arpino and for having claimed and reserved one particular space to Giuseppe Pontremoli and Pierluigi Cappello. In the context of anthologies, we also rightly believe that we have included the analysis (and evaluation) of children’s anthologies in the study of poetic anthology (in particular those by Roberto Antonelli in « Critica del testo » and Niccolò Scaffai), a completely new operation. The proposed Anthology therefore follows the highlighted criteria and differs considerably from those of the past as well as those currently on the market.