Avec l'avènement du prince en 27 av. J.-C. s'ouvre à Rome ce qu'on appelle le siècle d'Auguste et qui correspond à une période de révolution à la fois politique, mais aussi culturelle. Auteurs et poètes étaient engagés dans cette réflexion collective sur les fondements de la Ville, son identité, ses rapports avec son prince et ses dieux, I'imperium d'Auguste et les modèles à offrir à la nouvelle génération. La thèse entend étudier la manière dont le poète latin Horace participa non seulement au renouvellement des formes poétiques à Rome, mais aussi à ces réflexions sur le nouus status. Comment la lyrique archaïque grecque qu'il tente d'acclimater à Rome dans ses Odes, mais aussi les mythes grecs qu'il réélabore et fait entrer en résonance avec les enjeux du principat, lui permettent d'évoquer les relations privilégiées de Rome et de son prince ? / With the accession of the princeps in 27 BC, begins in Rome the "Age of Augustus" - a period of political, but also cultural revolution. Authors and poets joined this collective thinking about the foundations of the City, its identity, its relationship with its princeps and its gods, the imperium of Augustus, and the ideals to offer to the new generation... This dissertation aims to analyse how the Latin poet Horace took part not only to the renewal of the poetic forms in Rome, but also to these reflections around the novus status. ln which way the archaic Greek lyric, that he tries to adapt to Rome in his Odes, as well as the Greek mythology, that he recreates to make them echo the challenges of the Principate, make it possible for Horace to conjure the privileged relation ship between Rome and its princeps?

La fin du XIXe siècle voit éclore un grand nombre de « petites » revues littéraires et artistiques, liées aux avant-gardes et à la bohème. Parmi elles, Le Chat Noir (1882-1897), créée par Rodolphe Salis et Émile Goudeau pour assurer la promotion du désormais célèbre cabaret éponyme. On y publie des contes, des histoires drôles et sans paroles, mais aussi de la poésie. Le présent travail entend étudier de plus près ces poèmes, à la lumière de la crise qui agite alors la production littéraire. Il s’agit plus précisément d’analyser le traitement qui est fait de la notion de sujet lyrique, « principe structurel » (Käte Hamburger) du lyrisme. Dire " je" semble en effet perdre tout sens aux yeux de ces poètes, non seulement du fait du poids de la tradition qu’il est de bon ton de subvertir au nom de l’esprit fumiste dont ils se réclament, mais encore du régime collectif au sein duquel ils s’expriment. Toutefois, les multiples provocations à son encontre permettent aussi à ces artistes de disséquer et de questionner cette notion, et même de se la réapproprier, tant collectivement qu’individuellement. Une réflexion croisée, à la fois poétique, esthétique et sociopoétique, nous amènera à définir les logiques, enjeux et stratégies d’un tel positionnement. / The end of the 19th Century is a key period for the « little » literary and artistic journals, produced by avant-garde and bohemian groups. One of them, Le Chat Noir (1882-1897), created by Rodolphe Salis and Émile Goudeau to promote the famous and eponymous cabaret. Tales, humoristic texts, illustrations or poetry appear in its columns. The present thesis aims for a closer study of these poems, in the light of the crisis which troubles the literary production. It is more precisely to analyse how the notion of the lyric subject, which is considered as the « structural principle » (Käte Hamburger) of lyricism, is treated. Indeed, saying « I » seems to lose sense for these poets, not only because of a tradition that is to subvert for the « fumiste » spirit’s sake which they claim, but also because of the collective context in which they find a space of expression. However, those provocations against the lyrical « I » is also for these artists a way to question and dissect it, and even to reappropriate it, for the collective as much as the individual distinction. A mixed reflexion, based on poetic, esthetic and « sociopoétique » analysis, will lead us to define the logics, stakes and strategies of such a position.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

L’objectif principal de la thèse a été de fournir une révision de l'édition critique, avec une traduction et un commentaire des scholia du ps.Acron au quatrième livre des Carmina. Considérer le quatrième livre a répondu à l'exigence de déterminer une section 'indépendante' dans la production lyrique d'Horace.Le corpus pseudacronian se présente comme un ensemble de scholies à l'œuvre d'Horace pas reconductible à une individualité ou à un moment historique bien précis mais qui résulte comme la conséquence d'une stratification commencée au V siècle et qui a duré jusqu'au Moyen Age attribué de manière erronée à Elenius Acron, auteur du IIè siècle d.C.J'ai proposé des interventions critiques à l'édition de O. Keller publié pour la Teubneriana (Leipzig 1902).Dans la rédaction du commentaire, une grande importance a été conférée à l'évaluation des enquêtes littéraires dans le texte pseudacronian. L’étude comporte également une focalisation attentive sur les typologies de caractéristiques, très diffuses dans les commentaires anciens, grâce auxquels on peut déduire les compétences linguistiques, rhétoriques, littéraires, mythiques, historiennes.Le travail a été complété par un essai initial organisé en sections: la première partie concerne la réception du texte des auctores, et en particulier d'Horace, dans le contexte de l'école. Une seconde section concerne les caractéristiques du commentaire au quatrième livre des Carmina, illustratifs pour l'évaluation de la technique exégétique du ps.Acron. / The main objective of the thesis was that to provide a review of the critical edition, with a translation and a commentary of the scholia pseudacroniana on The Fourth Book of the Odes of Horace. In the vast field of the Horatian lyric, it's been considered un 'independent' section. The pseudacronian corpus looks like a jumble of Horace's scholia not due to an individuality or to a precise historic moment: they are the result of a stratification began in the fifth century and lasted until the Middle Ages, mistakenly attributed to Elenius Acron, author of the second century AD. Some critical interventions have been proposed to the edition of reference, that of O. Keller, published for the series Teubneriana (Pseudacronis Scholia in Horatium vetustiora, Leipzig 1902).During the draft of the commentary I've given great importance to the evaluation of the literary investigations proposed in the pseudacronian text. It's not even a careful focus on the types of notes, too, from which we deduce the linguistic, rhetorical, literary, mythical, historical competences. The work has been completed by an essay divided by sections: the first part concerning the receipt of the text of auctores, and in particular Horace, in the context of the school. The second section concerns the characteristics of the commentary on the fourth book of Odes, taken as an example for the evaluation of ps.Acron's exegetical technique.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais / The present work accomplishes a systematic study about the composition of lyrical subject of Hilda Hilst in her work Cantares (2004). In order to develop this research, the methodology used was a combination of analysis and observation of the forementioned Hilst s book. Then some theoretical considerations were taken about who and how the subject is built in Hilst`s poems. By following Hilst s poetry one could face three relevant questions about her lyrical persona: the detection of a lyrical subject that recognizes himself as somebody constructed from his belonging to the other, out of him or as the self projected out of other self; the displacement of his identity by using a mask, and finally the ability of creating itself again, of thinking and constituting itself by means of the image and the word. Therefore this dissertation is organized in three chapters The being-beyond: the double face in Hilda Hilst s poetry , The self and the other behind the mask and The images and the word in Hilda Hilst s poetry in which the discussions proposed above are developed, revealing the building of a multiple and plural subjectivity. / O presente trabalho realiza um estudo sistemático sobre a composição do sujeito-lírico na obra Cantares (2004) da escritora Hilda Hilst. Para desenvolvimento desta pesquisa utilizou-se um método que, partindo da análise e observação da obra, permitiu tecer algumas perspectivas teóricas a respeito de quem é e como se constitui tal sujeito nas poesias hilstianas. Este trilhar nas poesias de Hilst permitiu o levantamento de três relevantes questões sobre a persona lírica da autora: a detecção de um sujeito-lírico que se sabe como alguém construído a partir de seu pertencimento ao outro, externo a ele ou o como o eu projetado fora de si; o deslocamento de um eu para uma máscara e, por fim, um reinventar-se, pensar-se e constituir-se por meio da palavra e da imagem. Tal trajetória culminou na estruturação de três capítulos O ser-além: as faces do duplo na poesia hilstiana , O eu e o outro por trás da máscara e O ser-imagem-palavra na poesia hilstiana nos quais são tratadas, respectivamente, estas três discussões, mostrando a constituição de uma subjetividade que é múltipla e plural. / Mestre em Teoria Literária

Poetry and literature as a whole have been marginalized and discredited in Portuguese language classes in elementary school. Reading poetry and lyrical literacy are essential for students at this level of basic education to apply and make good use of their knowledge in various social contexts. In addition, working with the poem genre and / or other texts that retake poetic language is very enriching for the student, since with these textual genres in the classroom and at school the student is allowed to reach a substantial level of humanization, awareness and reflection on the culture and legacy of a people, and their own history in the world. The main objective of this initiative was to equip students for lyric literacy by reading poems and poetic language texts. The pedagogical intervention that gave rise to this academic report was held in Class A of the 9th year of elementary school, at the José de Alencar Cardoso State School, located in Aracaju / SE. For this purpose, questionnaires were applied before and during the activities with the corpus, whose purpose was to seek to know what the students knew or did not know and / or what they learned about poetry and poetry. The didactic activities were given dynamically, with silent, oral, expressive, analytical and interpretive readings. The corpus used in this research consisted of two chronicles and three poems. As a theoretical contribution, we are based on Rildo Cosson (2014); Neusa Sorrenti (2013), Octavio Paz (2012); Tzvetan Todorov (2009); Antonie Compagnon (2010 and 2012); Egon Rangel (2003); Antonio Candido (1987); Regina Zilberman (2009), Hélder Pinheiro (2007); Fernando Paixão (1983); Massaud Moisés (2007); Emil Staiger (1977), among other authors. / A poesia e a literatura como um todo têm sido marginalizadas e desprestigiadas nas aulas de língua portuguesa do ensino fundamental. Entretanto, a leitura de poesia e o letramento lírico são essenciais para que o estudante desse nível da educação básica aplique e faça bom uso de seus conhecimentos nos vários contextos sociais. Além disso, o trabalho com o gênero poema e/ou com outros textos que retomem a linguagem poética é bastante enriquecedor para o aluno, uma vez que, com esses gêneros textuais na sala de aula e na escola, permite-se ao estudante alcançar um substancial nível de humanização, sensibilização e reflexão sobre a cultura e legado de um povo, e sua própria história no mundo. O objetivo precípuo desta iniciativa foi instrumentalizar os alunos para o letramento lírico, através da leitura de poemas e textos de linguagem poética. A intervenção pedagógica que deu origem a este relatório acadêmico foi realizada na Turma A do 9º ano do ensino fundamental, da Escola Estadual José de Alencar Cardoso, localizada em Aracaju/SE. Para tanto, foram aplicados questionários, antes e durante as atividades com o corpus, cuja finalidade foi buscar conhecer o que os alunos sabiam ou não sabiam e/ou o que aprenderam acerca de poema e poesia. As atividades didáticas deram-se de forma dinâmica, com leituras silenciosa, oral, expressiva, analítica e interpretativa. O corpus utilizado nesta pesquisa constituiu-se de duas crônicas e três poemas. Como aporte teórico, fundamentamo-nos em Rildo Cosson (2014); Neusa Sorrenti (2013), Octavio Paz (2012); Tzvetan Todorov (2009); Antonie Compagnon (2010 e 2012); Egon Rangel (2003); Antonio Candido (1987); Regina Zilberman (2009), Hélder Pinheiro (2007); Fernando Paixão (1983); Massaud Moisés (2007); Emil Staiger (1977), dentre outros autores. / São Cristóvão, SE

Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam ». / The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”.

Nikolaj Kljuev (1884-1937) est l’une des figures les plus fascinantes de l’« Âge d’argent » russe et du modernisme. Longtemps interdite après son exécution, son œuvre n’a été redécouverte qu’à la faveur du « boom » éditorial de la perestroïka, la publication de poèmes épiques tardifs suscitant un vif intérêt pour son œuvre témoignage de la violence de la collectivisation. Né dans le Nord russe, engagé pour la cause paysanne, correspondant d’Alexandre Blok entre 1907 et 1915, idéologue du néo-populisme dans les années 1910, bolchevik en 1919, Kljuev est devenu, dans les années 1920, une référence pour la génération des jeunes poètes soviétiques (Harms, Vvedenskij, etc.), un conservateur de la culture russe ancienne et un modèle d’anti-comportement, dans le contexte d’un champ littéraire en pleine reconfiguration. Attirant un public très divers, modulant sa personnalité littéraire et sa voix en fonction de son auditoire, Kljuev s’épanouit sur scène comme dans le cadre privé du cercle et du couple. Alors qu’il a trouvé, au cours des années 1910, un matériau esthétique de choix dans le folklore russe, la vieille foi et les chants populaires, c’est le « je » qui demeure au centre de son univers poétique, sous la forme d’un héros lyrique évoluant au sein des cycles. Ceux des années 1917-1932 occupent une place cruciale dans sa trajectoire poétique, dans la mesure où c’est en leur sein que s’élabore le « cosmos de l’Isba », au cœur de l’univers poétique kljuevien. Éminemment charnel et homoérotique, le «je» est aussi désincarné dans un Verbe qui devient le vecteur de l’intentionnalité du texte poétique, au même titre que les masques du poète se font le véhicule de son identité narrative. / Nikolai Klyuev (1884-1937) is one of the most fascinating figures of the Russian «Silver age» and modernism. Forbidden for half a century after the poet’s execution, his work was almost fully recovered only at the end of the 1980’s, and the publication of the late epic poems sparked an intense interest in those poetic testimonies of the violence of collectivization. Born in the Russian North, committed to the peasant revolution, Alexander Blok’s penpal between 1907 and 1915, ideologist of neo-populism in the 1910’s, bolshevik in 1919, Klyuev became in the 1920’s a reference for the young generation of soviet poets (Harms, Vvedenski, etc.), a keeper of Russian folk culture and an example of anti-behavior whithin the frame of a mutating literary field. Attracting a diverse crown and modifying his literary persona as well as his voice regarding his audience, Klyuev thrives on stage as well as within the private circle and couple. Whilst he has found during the 1910’s a valuable aesthetic material in Russian folklore, old belief and popular songs, his poetic universe gravitates around his «self» in an egocentric manner. The utopian formula of the «isba cosmos» is formulated precisely within the lyric cycles of the 1920’s that correspond to the intimate intention of his verse. Carnal and homoerotic, the «lyric hero» is also disembodied in the Word that carries the poetic intention, the same way the mask Klyuev dons in public becomes the vehicle of his narrative identity in perpetual representation

This diploma thesis explores the lyrical poetry of Eduard Mörike (1804-1875), a German poet. The topic of the thesis is theencountering of nature and love in his works. This poet, less known in the Czech context, wrote various kinds of poems, which deserve attention. The thesis is divided in two parts, theoretical and interpretative. In the first part, the thesis focuses on giving an overall context (I deal with a historical context, literary epochs, during which Eduard Mörike wrote, his personality and general introduction in lyrical poetry). The second part of my thesis aims to interpret selected poems, which are divided bytheir themes: romantic love, the morning, wayfaring, the forest and the so-called "Dinggedichte," or poems focusing on understanding and appreciation of a single item. In each poem, a mood or feeling that characterizes the poem is described, who is the speaker within the poem, and which topics of love and nature can be observed. From the perspective of form, I analyze the rhyme scheme. The analysis of each thematic group also contains a comparation of the poems. The interpretational part aims to connect and evaluate the interweaving of love and nature in the poetic works of Eduard Mörike and touch upon the deeper meaning of the poems. Its aim is also to make the selected works...

C’est par une généalogie de l’immortalité poétique en Grèce archaïque, depuis une immortalité ne concernant que le renom jusqu’à une forme de survie personnelle, que s’ouvre cette recherche. Arrivé à Pindare, une étude approfondie de sa première Néméenne, au moyen de la théorie de l’énonciation de Benveniste et de la narratologie de Genette, permet de détailler comment se construit, dans l’épinicie, un régime temporel de l’éternité, dans lequel le poète inscrit le vainqueur qu’il célèbre. Je me penche alors sur la formation, dans l’épinicie, d’un réseau de concepts dont font partie la mémoire, la vérité, la lumière et l’or, réseau servant à créer une connotation d’immortalité. Ce réseau est ensuite analysé au travers des relations sociales qui le déterminent, au moyen du matérialisme historique et de l’herméneutique négative. Il en ressort que ce réseau marque la construction d’une idéologie aristocratique, dont la structure est détaillée grâce au concept d’hégémonie de Gramsci, ce qui laisse voir que l’immortalité poétique, chez Pindare, a pour fonction de poser un ordre social comme éternel. L’immortalité religieuse de Pindare est placée dans ce contexte et interprétée comme une autorité extra-littéraire devant asseoir la forme non traditionnelle d’immortalité poétique de Pindare, recours rendu nécessaire par un ébranlement de l’autorité littéraire. Ainsi, le développement exacerbé, en Grèce archaïque, de l’immortalité poétique, est réinterprété comme le produit d’une crise généralisée de l’autorité, une lutte des classes devant mener à la défaite de l’aristocratie terrienne et à l’émergence de la polis de la Grèce classique. / This research opens with a genealogy of poetic immortality in Archaic Greece, from an immortality of renown down to a form of personal survival. A detailed study of Pindar’s first Nemean, through Benveniste’s enunciative linguistics and Genette’s narratology, shows how the epinician constructs a temporal regime of eternity, in which the poet inscribes the victor. I proceed to analyze how, through the epinician, a network of concepts comprising memory, truth, light, and gold, is used to create a connotation of immortality. The social relations that determine this network are then analyzed through historical materialism and negative hermeneutics. From there, it appears that this network shows the construction of an aristocratic ideology, whose structure is then detailed through Gramsci’s concept of hegemony. This reveals how Pindar’s poetic immortality serves to ground a social order as eternal. Pindar’s religious immortality is then cast within this context and interpreted as an appeal to an extra-literary authority whose role is to legitimize the non-traditional form of poetic immortality developed by Pindar, an appeal made necessary by an undermining of literary authority. Thus, the increasing development of poetic immortality throughout Archaic Greece is reinterpreted as the product of a general crisis of authority, of a class struggle that would lead to the defeat of the landed aristocracy and the emergence of the polis of Classical Greece.