Ce travail présente la manière dont le regard d'Elizabeth Bishop appréhende le monde en refusant toute illusion de familiarité. Il étudie les diverses stratégies de défamiliarisation qui invitent le lecteur à redécouvrir les surprises que peuvent réserver l'ordinaire et le quotidien, ainsi que le rapport qui s'instaure entre le sujet lyrique et le monde dans ces conditions. Il s'agit d'analyser comment l'affleurement de l'étrange ou de l'informe dans le familier et l'intime permet d'accéder à une reconnaissance du soi plus ample et plus authentique. L'écriture de Bishop remet inlassablement en question la stabilité de la réalité, y compris celle du sujet, ainsi que toute notion d'acquis, ou d'acquisition dans le temps. C'est ainsi que sa voix – sa signature – se singularise et qu'elle se démarque de ses pairs, mais aussi de la société à laquelle elle appartient. Ce qui s'affirme au travers de son écriture n'est paradoxalement fait que d'incertitude et de vulnérabilité. Le sujet qui s'y forme se construit sur de l'éphémère, sur ses propres limites ; il ne peut s'appuyer que sur la découverte de l'aliénation exogène mais également endogène à laquelle il est confronté. Simultanément, cette écriture cherche des moyens de maintenir le sujet, par la résonance d'échos, par le foisonnement, la prolifération, autant de techniques qui le ramènent incessamment au manque, au vide, à la faille qu'elles sont supposées masquer. Cette thèse propose d'interroger le rapport entre perte et création dans l'œuvre de Bishop, la manière dont la création se nourrit de la perte, et dont elle entraîne le lecteur dans cette transaction, l'incluant par là-même dans le processus créatif. / This study examines the way Elizabeth Bishop's writings probe the world's seeming familiarity, how through various strategies of defamiliarization they reveal to the reader the hidden surprises of the ordinary, and how the lyrical subject relates to the world. As the strange and the shapeless surface within the intimate and the familiar, the persona gains access to a better and more authentic understanding of his-her own self. Bishop's writing relentlessly questions the stability of reality, including that of the self. It seems that the only knowledge available is that of uncertainty and contingency. Her voice is therefore necessarily singular and isolated, being itself in perpetual mutation. In order to maintain itself, her subject is constrained to rely on its own ephemeral and limited nature, as well as on external and internal alienation. Echoes and techniques of proliferation are construed to achieve that aim. Yet those techniques keep ! bringing the subject back to the lack, the absence, the gaps they are meant to bridge and cover up. Finally, this analysis explores the relationship between loss and creation: how creation is fueled by loss and how the reader is drawn into Bishop's writing thus ensuring the persistence of creation.

Šiame magistro darbe tiriama S. Kierkegaard'o recepcija G. Deleuze'o filosofijoje, veikale "Différence et répétition- (1968)" bei analizuojamos praktinės pakartojimo, skirties, pasirinkimo, lyrinės abstrakcijos konceptų moduliacijos kino filosofijos plotmėje, knygose (Cinéma I: L'image-mouvement (1983)) ir (Cinéma II: L'image-temps (1985)). / This master's paper is analyzing the reception of S. Kierkegaard in G. Deleuze's philosophy in books "Différence et répétition- (1968)" and (Cinéma I: L'image-mouvement (1983)) and (Cinéma II: L'image-temps (1985)). Also there is examined concepts of repetition, difference, choosing to choose and lyrical abstraction in G. Deleuze's film philosophy.

Genre lyrique espagnol né au XVIIe siècle, la zarzuela connait un nouvel essor à partir de 1849. En effet, une génération de compositeurs souhaite lui donner une dimension nationale. Il s’agit principalement de Francisco Asenjo Barbieri, Joaquín Gaztambide, Cristóbal Oudrid, Rafael Hernando, José Inzenga et, dans une certaine mesure, Emilio Arrieta. Cette thèse étudie la manière dont musiciens et librettistes ont construit ce répertoire qui, paradoxalement, s’il se veut espagnol, est en certains points inspiré de la scène lyrique française et plus particulièrement de l’opéra-comique. Le transfert s’opère à travers la dimension littéraire, musicale, humaine, mais aussi culturelle. C’est donc la question des influences, de ses modalités et de ses enjeux, qui fait l’objet d’une réflexion et qui est illustrée par des correspondances entre des oeuvres emblématiques de part et d’autre de la frontière / Zarzuela is a Spanish lyrical genre which was born in the 17th century and experienced a revival from 1849 on; Indeed, a generation of composers wished to give it a national dimension. The most important ones are Francisco Asenjo Barbieri, Joaquín Gaztambide, Cristóbal Oudrid, Rafael Hernando, José Inzenga and to a certain extent Emilio Arrieta; This dissertation analyses the way some musicians and authors constructed the repertoire which, paradoxically, even though it was supposed to be Spanish, was, in certain ways, inspired by the French lyrical stage and more particularly by comic opera. The transfer occurs through the literary, musical, human and even cultural dimensions. Consequently, what is discussed here is the issue of influences, their characteristics and challenges as the basis for a thorough analysis illustrated by the links between emblematic works on the two sides of the boarder

Orientador: Lúcia Granja / Banca: Francine Fernandes Weiss Ricieri / Banca: Antonio Manoel Santos Silva / Resumo: O grande comediógrafo, Martins Pena, além de dramaturgo atuou como cronista e crítico na seção folhetinesca intitulada "A Semana Lírica" do Jornal do Commercio, entre setembro de 1846 e outubro de 1847. No presente trabalho, é contemplado o estudo analítico da crítica-folhetinesca de Martins Pena, bem como sua relação com a crítica contemporânea, produzida durante primeira fase do romantismo brasileiro. Assim, pretendemos comprovar que Martins Pena produz uma crítica ativa e conscienciosa, que trabalha a estética e o estilo românticos, em vigor na época, pelo viés irônico-satírico, característicos de sua escrita. Em nossa análise, consideramos que o recurso da ironia reforça a profundidade crítica de suas idéias, transpondo para seu texto as mazelas do teatro-lírico da época. Dessa forma, concluímos que Martins Pena, como crítico teatral, tem um olhar crítico sobre o ambiente cênico e musical mais desenvolvido e apurado do que tal ambiente é de fato (re)produzido e apresentado nos palcos dos dois principais teatros do Rio de Janeiro. Para desenvolver e comprovar nossa hipótese, primeiramente fizemos uma análise geral dos folhetins críticos de Pena; em seguida, explanamos a crítica da época estabelecendo as relações de aproximação e distanciamento com a de nosso crítico, demonstrando, com isso, o papel da ironia nos folhetins. Enfim, o objetivo geral deste estudo é mostrar o habilidoso cronista que foi Martins Pena e, também, a contribuição para crítica e para o teatro (lírico) brasileiros que ele legou, revelando-se um crítico audaz e perspicaz. Com isso, finalmente, pretendemos levá-lo a ser reposicionado diante dos intelectuais a ele contemporâneos, sendo reconhecido como um dos importantes críticos teatrais brasileiros do século XIX. / Abstract: The great comedy writer Martins Pena dedicated himself to more than playwriting. He was also the author of articles and critical pieces in the feuilleton section A Semana Lírica of Jornal do Commercio, from September of 1846 to October of 1847. This thesis is an analytic study of Martins Pena's critical feuilletons and his relation to the criticism produced during the first phase of Brazilian Romanticism. It is intended to prove Martins Pena's criticism as active and conscious, produced through a characteristic ironic-satiric style of writing related to the romanticism mode and aesthetic of his time. The figure of irony emerges in this analyze as the reinforcement of the critical depth of his ideas, exposing in his text the deficiencies of the lyrical drama of that moment. Therefore, Martins Pena as a drama critic shows an overdeveloped and refined view of the musical and theatrical environment. In fact, his critical observation was more sophisticated than the way such environment was (re)produced and performed in the stages of the two main theatres of Rio de Janeiro. In order to develop and verify this hypothesis, a general analyze of Pena's critical feuilletons was carried out; followed by a comparison between his texts and the ones produced by other critics of the same period. Through this comparison it is possible to establish relations of proximity and distance that demonstrate the meaning of irony in the feuilletons. The general purpose of this study is not only to show how gifted Martins Pena was as a feuilleton critic, but also to assert his legacy to Brazilian criticism and lyrical drama through his audacity and witty. Finally, all of this aims at acknowledging his place among the high intellectuals of his time, recognizing him as one of the most important Brazilian drama critics of the nineteenthcentury. / Mestre

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper presents a proposal to the lyrical genre teaching in the 7th year of Elementary Education Major. It shows the place of poetry, that is, as the lyric text can contribute to the formation of readers and the lyrical literacy. The proposal contemplates the use of songs of Brazilian Popular Music (MPB) to work lyrical resources. It is a multimodal proposal that brings the songs to go beyond the presentation of theories, becoming a tool to achieve the desire to hear good music, to seek the understanding and interpretation of the letters and identify literary devices present in the MPB songs. All this associated with the use of new Information and Communication Technologies (ICT) as a means for realization of this project. This work has a rich theoretical contribution of Octavio Paz, Salvatore D'Onofrio, Rildo Cosson, Antonio Candido, Anazildo Vasconcelos da Silva, Manoel Reis, Sylvia Helena Cyntrão, Antonio Carlos Xavier, Sánchez Miguel etc. / O presente trabalho traz uma proposta para o ensino do gênero lírico no 7º ano do Ensino Fundamental Maior. Nele apresenta-se o lugar da poesia, isto é, como o texto lírico pode contribuir para a formação de leitores e para o letramento lírico. A proposta contempla o uso de canções da Música Popular Brasileira (MPB) para trabalhar recursos líricos. Trata-se de uma proposta multimodal que traz as canções para ir além da apresentação de teorias, tornando-se uma ferramenta capaz de atingir o desejo de ouvir uma boa música, de buscar o entendimento e a interpretação das letras e de identificar os recursos literários presentes em canções da MPB. Tudo isso associado ao uso das novas Tecnologias de Informação e de Comunicação (TIC) que são meios para realização desse projeto. Esse trabalho conta com a rica contribuição teórica de Octávio Paz, Salvatore D’Onofrio, Rildo Cosson, Antonio Candido, Anazildo Vasconcelos da Silva, Manoel Reis, Sylvia Helena Cyntrão, Antonio Carlos Xavier, Sánchez Miguel etc.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work presents some theoretical and practical considerations about the importance of the lyric genre for the development and expansion of literacy processes of elementary school students, especially the literary literacy. Both the poem, with its structural elements, as several other literary events can be instruments of expansion of linguistic discourse of the student, however, in the classroom, in most cases, these texts are impoverished front of utilitarian and minor approaches significant. Provided the theoretical basis for our consideration the Cosson texts (2011), Dalvi (2013), D'Onofrio (2007), Candide (2006), Zinani and Santos (2004) and Nunes (2009). The work also shows the results of the probe test, applied in public schools, whose assembly and objectives will be detailed. The results served as guidement to propose a methodological tool from the study metalinguistic poems performed in the 9th grade class B of State College Romero, located in Lagarto, during the months of January and April 2015. This proposal , through detailed report, it was based on the analytical study of the lyrical categories advocated by scholars mentioned above. / Este trabalho objetiva apresentar algumas considerações teóricas e práticas a respeito da importância do gênero lírico para o desenvolvimento e a ampliação dos processos de letramento dos alunos do ensino fundamental, especialmente o letramento literário. Tanto o poema, com os seus elementos estruturais, quanto várias outras manifestações literárias podem ser instrumentos de expansão dos discursos linguísticos do aluno, porém, em sala de aula, na maioria das vezes, esses textos são empobrecidos frente a abordagens utilitárias e pouco significativas. Serviram de embasamento teórico para as nossas considerações os textos de Cosson (2011), Dalvi (2013), D‘Onofrio (2007), Cândido (2006), Zinani e Santos (2004) e Nunes(2009). O trabalho também mostrará os resultados do teste de sondagem, aplicado em rede pública de ensino, cuja montagem e objetivos serão detalhados. Os resultados serviram de norteamento para a proposição de um instrumento metodológico a partir do estudo de poemas metalinguísticos realizado na turma do 9º ano B do Colégio Estadual Sílvio Romero, localizado na cidade de Lagarto, durante os meses de janeiro e abril de 2015. Tal proposta, detalhada através de relato, teve como base o estudo analítico das categorias líricas defendidas por estudiosos citados acima.

O presente trabalho é a explicitação do percurso de pesquisa em torno da forma lírica do teatro, com a intenção de construir procedimentos de pesquisa e protocolos de funcionamento para o aprofundamento no objeto. O trabalho gerou ainda a criação de acervo multimídia organizado e catalogado / The present work is the explicitation of the path of research on the lyrical form of theater, building research procedures and protocols of operation for a deeper study on the object. The work has also generated multimedia collection, organized and cataloged.

Made available in DSpace on 2017-07-10T18:55:34Z (GMT). No. of bitstreams: 1 Job.pdf: 3714936 bytes, checksum: 56bd7ac23688d6bed0a9e50c1e4460e7 (MD5) Previous issue date: 2014-02-05 / Poetry and image are sublime ways of seeing the world, they comprehend elevated feelings, and resonate echoes. The poetics of contemporary writer Lília A. Pereira da Silva is the result of a deep surrender to written and visual arts; the author sets in her works the existential dramas, the wounds of time and the anguish of soul. Lília reveals with intense perception and simple sensitivity the man's interior hidden by the social masks, camouflaged by the persona and exposed by the shadow as in Jung's theory (2008). The images of the poet dialogue with emotions, they inhabit the human dwelling, they are like voices in the silence, and do not only express the double, but the triple as Rancière (2013) points out. The theoretical perspectives deal with criticism, sociology, phenomenology and hermeneutics as they consider the study of images subjectively within a constant process of interpretation in which the researcher has an essential role in the dialogue with the object studied. The research includes the analysis of eight poems and eight pictures by Lília Silva that makes up the literary corpus. Thus, the angel and the clown emerge as the main images in Lília s work: in poetry the angelic figure is constituted as a shadow, as the archetypal bearer of happiness and love, like a hero to save the lyrical self from the darkness of suffering. However, this idealization of the beloved/protector is a way that the poetic subject finds in trying to relive the past and believe in a prosperous future, that is, an inherent desire in every individual to hope for a fortunate future. In the pictorial images the clown is presented as an allegory of the melancholic modern man - anguished individual, enraptured by everyday boredom, lonely being facing an individualistic reality and suffering from social ills. "Each reader looks for something in the poem. And not unusually, he finds it: he already carried it inside him" (PAZ, 1982, p. 29). It is understood that when analyzing the angel and the clown two points of view are focused, one external with relation to the work and other internal - to the desires of the interior. / Poesia e imagem são formas sublimes de ver o mundo, comportam sentimentos elevados e ressoam ecos. A poética da escritora contemporânea Lília A. Pereira da Silva é fruto de uma entrega profunda as artes escritas e visuais, a autora configura em suas obras os dramas existenciais, as feridas do tempo e as angustias da alma. Lília revela com percepção e singela sensibilidade o interior do homem escondido pelas máscaras sociais, camuflado pela persona e exposto pela sombra conforme a teoria de Jung (2008). As imagens poéticas dialogam com as emoções, elas habitam a moradia humana, são como vozes no silêncio, e não expressam apenas o duplo, mas o triplo como aponta Rancière (2013). As perspectivas teóricas abordadas são a crítica, a sociológica, fenomenológica e hermenêutica, pois consideram o estudo das imagens uma análise subjetiva dentro de um processo constante de interpretação onde o pesquisador tem função essencial no diálogo com o objeto estudado. A pesquisa compreende a análise de oito poemas e oito imagens de Lília Silva que compõe o corpus literário. Assim, o anjo e o palhaço emergem como as principais imagens poéticas na obra liliana: na poesia o ser angelical se constitui como uma sombra, como o arquétipo portador da felicidade e do amor, como um herói a salvar o eu lírico das trevas do sofrimento. Essa idealização do ser amado/protetor é uma forma que o eu poético encontra de tentar reviver o passado e acreditar num futuro próspero. O palhaço se apresenta como uma alegoria do homem melancólico sujeito angustiado, arrebatado pelo tédio cotidiano. Um ser solitário diante de uma realidade individualista e sofredor das mazelas sociais. Assim, ―Cada leitor procura algo no poema. E não insólito que o encontre: já o trazia dentro de si‖ (PAZ, 1982, p. 29). Compreende-se, que ao interpretar o anjo e o palhaço passa a se voltar para duas óticas: uma externa em relação à obra e a outra interna para os anseios do interior.

Made available in DSpace on 2017-07-10T18:55:38Z (GMT). No. of bitstreams: 1 Job Lopes.pdf: 3714936 bytes, checksum: 47771779f952ff7a91f197bf463031bd (MD5) Previous issue date: 2014-02-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Poetry and image are sublime ways of seeing the world, they comprehend elevated feelings, and resonate echoes. The poetics of contemporary writer Lília A. Pereira da Silva is the result of a deep surrender to written and visual arts; the author sets in her works the existential dramas, the wounds of time and the anguish of soul. Lília reveals with intense perception and simple sensitivity the man's interior hidden by the social masks, camouflaged by the persona and exposed by the shadow as in Jung's theory (2008). The images of the poet dialogue with emotions, they inhabit the human dwelling, they are like voices in the silence, and do not only express the double, but the triple as Rancière (2013) points out. The theoretical perspectives deal with criticism, sociology, phenomenology and hermeneutics as they consider the study of images subjectively within a constant process of interpretation in which the researcher has an essential role in the dialogue with the object studied. The research includes the analysis of eight poems and eight pictures by Lília Silva that makes up the literary corpus. Thus, the angel and the clown emerge as the main images in Lília s work: in poetry the angelic figure is constituted as a shadow, as the archetypal bearer of happiness and love, like a hero to save the lyrical self from the darkness of suffering. However, this idealization of the beloved/protector is a way that the poetic subject finds in trying to relive the past and believe in a prosperous future, that is, an inherent desire in every individual to hope for a fortunate future. In the pictorial images the clown is presented as an allegory of the melancholic modern man - anguished individual, enraptured by everyday boredom, lonely being facing an individualistic reality and suffering from social ills. "Each reader looks for something in the poem. And not unusually, he finds it: he already carried it inside him" (PAZ, 1982, p. 29). It is understood that when analyzing the angel and the clown two points of view are focused, one external with relation to the work and other internal - to the desires of the interior / Poesia e imagem são formas sublimes de ver o mundo, comportam sentimentos elevados e ressoam ecos. A poética da escritora contemporânea Lília A. Pereira da Silva é fruto de uma entrega profunda as artes escritas e visuais, a autora configura em suas obras os dramas existenciais, as feridas do tempo e as angustias da alma. Lília revela com percepção e singela sensibilidade o interior do homem escondido pelas máscaras sociais, camuflado pela persona e exposto pela sombra conforme a teoria de Jung (2008). As imagens poéticas dialogam com as emoções, elas habitam a moradia humana, são como vozes no silêncio, e não expressam apenas o duplo, mas o triplo como aponta Rancière (2013). As perspectivas teóricas abordadas são a crítica, a sociológica, fenomenológica e hermenêutica, pois consideram o estudo das imagens uma análise subjetiva dentro de um processo constante de interpretação onde o pesquisador tem função essencial no diálogo com o objeto estudado. A pesquisa compreende a análise de oito poemas e oito imagens de Lília Silva que compõe o corpus literário. Assim, o anjo e o palhaço emergem como as principais imagens poéticas na obra liliana: na poesia o ser angelical se constitui como uma sombra, como o arquétipo portador da felicidade e do amor, como um herói a salvar o eu lírico das trevas do sofrimento. Essa idealização do ser amado/protetor é uma forma que o eu poético encontra de tentar reviver o passado e acreditar num futuro próspero. O palhaço se apresenta como uma alegoria do homem melancólico sujeito angustiado, arrebatado pelo tédio cotidiano. Um ser solitário diante de uma realidade individualista e sofredor das mazelas sociais. Assim, ―Cada leitor procura algo no poema. E não insólito que o encontre: já o trazia dentro de si‖ (PAZ, 1982, p. 29). Compreende-se, que ao interpretar o anjo e o palhaço passa a se voltar para duas óticas: uma externa em relação à obra e a outra interna para os anseios do interior

The thesis focuses on the poetry of Ludvík Kundera. It introduces his work in chronological order and within the contemporary literary-historical framework. The analysis and the interpretation of his early poems often refer to the war period. Language and its potentiality are a main concern in Kundera's other work. His poetry is defined in the context of avant-garde modern art: surrealism, dadaism and expressionism. The thesis researches the impact of Brecht's poetics on Kundera, too. It also introduces the persona of the artist, who significantly contributed to forming the Czech literary field during the second half of the 20th century. Kundera's poetry relates to Czech and foreign artists and their works. The poems rise from ordinary occasions, as well as showing the poet's intertextual approach. Experimentation, wordplay, lyrical humour and irony are an inherent part of Ludvík Kundera's work.