Orientador: Maria Clara Bonetti Paro / Banca: Maria Lúcia Milléo Martins / Banca: Henrique Silvestre Soares / Banca: Maria do Rosário Valencise Gregolin / Banca: Sidney Barbosa / Resumo: Esta tese tem como objetivo evidenciar as relações existentes entre história e poesia, buscando as representações da guerra ou de situações de conflitos político-sociais na poesia lírica contemporânea. O trabalho tem como corpus as poesias de Charles Simic e de Affonso Romano de Sant'Anna. A base teórica pressupõe estudos acerca da concepção de poesia de teóricos influentes, como Hayden White, Theodor Adorno e Octavio Paz. Durante a análise dos poemas, são privilegiados alguns princípios e conceitos concernentes à "nova história", mais particularmente os defendidos por historiadores como Jacques le Goff e Michel de Certeau, representantes da terceira geração dessa corrente. Os resultados confirmam que os poemas de Simic e de Sant'Anna ilustram as possibilidades de leitura de uma época histórica, bem como dos fatos e dos personagens nela inseridos. Os poetas trazem a história para dentro de seus poemas para salientar o compromisso da literatura com as realidades que os cercam. / Abstract: This dissertation explores the connections between history and poetry. It investigates the representations of war or social-political conflicts in contemporary lyrical poetry. The corpus of the work is comprised of poems by Charles Simic and by Affonso Romano de Sant'Anna. The theoretical support comes from the studies about the conceptions of poetry by influential theorists such as Hayden White, Theodor Adorno and Octavio Paz. Along the analyses of the poems, I draw, mainly, upon the principles used by "new history", more specifically, by historians such as Jacques Le Goff and Michel de Certeau. The results confirm that Simic's and Sant'Anna's poetry demonstrate the possibilities of a reading of a historical moment, as well as its facts and participants. The two poets incorporate history to their poems to emphasize the commitment of literature with the realities that surround them. / Doutor

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-12T19:08:40Z No. of bitstreams: 1 KAMILLA MARRA DE MORAES.pdf: 1010513 bytes, checksum: 15f5a8d9eaef871dcf61affa2787e854 (MD5) / Made available in DSpace on 2016-09-12T19:08:40Z (GMT). No. of bitstreams: 1 KAMILLA MARRA DE MORAES.pdf: 1010513 bytes, checksum: 15f5a8d9eaef871dcf61affa2787e854 (MD5) Previous issue date: 2016-03-21 / The aim of this study is to address the contemporary poetry and its various aspects. For this there was the use of stylistic features considered classics in contemporary poetic creation. In this context the modern lyric would be the most expressive feature the presence that still resists the contemporary poetry. As a research subject were chosen three contemporary Brazilian poets: Paulo Henriques Britto by fusionismo that place between the classic and the modern; Marcos Siscar because his verse in crisis and Arnaldo Antunes with the state of poetry in motion. The poems are analyzed with the intent to identify the classic features that remain in use in contemporary poetic writing. The research aims to recognize the possible aspects of contemporary Brazilian poetry as derealization of the classic models transforming them into new artistic and poetic language. / O objetivo deste trabalho é abordar a poesia contemporânea e suas distintas vertentes. Para isso verificou-se o uso de recursos estilísticos considerados clássicos na criação poética contemporânea. Nesse contexto a lírica moderna seria o recurso mais expressivo pela presença que resiste ainda na poesia contemporânea. Como objeto de pesquisa foram escolhidos três poetas brasileiros contemporâneos: Paulo Henriques Britto pelo fusionismo que realiza entre o clássico e o moderno; Marcos Siscar, devido o seu verso em crise e Arnaldo Antunes com o estado da poesia em movimento. Os poemas são analisados com intenção de identificar quais os recursos clássicos que permanecem em uso na escritura poética contemporânea. A pesquisa visa reconhecer as possíveis vertentes da poesia contemporânea brasileira como a desrealização dos modelos clássicos transformando- os em nova linguagem artística e poética.

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-08Bitstream added on 2014-06-13T21:03:23Z : No. of bitstreams: 1 dourado_mc_dr_arafcl.pdf: 1827767 bytes, checksum: 5a4aec2d81bd84a3734b307282907c7f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese tem como objetivo evidenciar as relações existentes entre história e poesia, buscando as representações da guerra ou de situações de conflitos político-sociais na poesia lírica contemporânea. O trabalho tem como corpus as poesias de Charles Simic e de Affonso Romano de Sant’Anna. A base teórica pressupõe estudos acerca da concepção de poesia de teóricos influentes, como Hayden White, Theodor Adorno e Octavio Paz. Durante a análise dos poemas, são privilegiados alguns princípios e conceitos concernentes à “nova história”, mais particularmente os defendidos por historiadores como Jacques le Goff e Michel de Certeau, representantes da terceira geração dessa corrente. Os resultados confirmam que os poemas de Simic e de Sant’Anna ilustram as possibilidades de leitura de uma época histórica, bem como dos fatos e dos personagens nela inseridos. Os poetas trazem a história para dentro de seus poemas para salientar o compromisso da literatura com as realidades que os cercam. / This dissertation explores the connections between history and poetry. It investigates the representations of war or social-political conflicts in contemporary lyrical poetry. The corpus of the work is comprised of poems by Charles Simic and by Affonso Romano de Sant’Anna. The theoretical support comes from the studies about the conceptions of poetry by influential theorists such as Hayden White, Theodor Adorno and Octavio Paz. Along the analyses of the poems, I draw, mainly, upon the principles used by “new history”, more specifically, by historians such as Jacques Le Goff and Michel de Certeau. The results confirm that Simic’s and Sant’Anna’s poetry demonstrate the possibilities of a reading of a historical moment, as well as its facts and participants. The two poets incorporate history to their poems to emphasize the commitment of literature with the realities that surround them.

Cette thèse prend la forme d’une pyramide renversée : à la base, qui est en réalité la surface, il faut imaginer les deux poètes du XXe siècle, alors qu’à la pointe extrême se situerait Proust, point d’émanation d’une certaine énergie intellectuelle qui se diffuse dans toute la modernité. Pedro Salinas et Eugenio Montale ont lu À la recherche du temps perdu dans l’Europe du premier proustisme (1920-1930). Les poétiques du poète italien et du poète espagnol s’inscrivent dans une même recherche du secret invisible, de l’essence du monde. Le parallélisme, inédit et intertextuel, entre leurs poèmes et le roman proustien met en valeur des aspects essentiels de leur lyrisme : une mémoire intermittente, oublieuse et épiphanique, enveloppant le parcours amoureux du sujet lyrique moderne. Les recueils « La voz a ti debida » (1933) de Salinas et « Le occasioni » (1939) de Montale, en particulier, sont deux véritables canzonieri d’amour construits autour de la phénoménologie du souvenir et de l’ « adresse tutoyante ». Les poétiques de Montale et de Salinas convergent d’autant plus vers la présence-absence d’un destinataire féminin, qu’ils s’écartent du chemin du Narrateur proustien. La comparaison entre prose et poésie fait émerger l’adresse au tu comme élément nouveau qui, n’existant pas dans le roman de Proust, constitue en poésie une alternative au « solipsisme proustien ». La relation exclusive du je lyrique avec un tu lyrique l’amène à partager l’intime, à sauvegarder la mémoire et à continuer l’amour contre tout oubli. / This thesis has the form of an upside down pyramid: at the base, which is on top, we put two lyrical 20th century poets. At the tip of the pyramid is Proust, from who emanates an intellectual energy that spreads all over modern thought. Pedro Salinas and Eugenio Montale read “In Search of Lost Time” during the first period of European proustism (1920-30). Just as Proust, they shared the same search for the invisible secret, for the world’s essence. Comparing their poems between them and with Proust’s novel reveals key-aspects of their lyricism. In their poetry, like in Proust’s novel, memory is intermittent, alternating between oblivion and epiphanic moments that are essentially part of the experience of love. “La voz a ti debida” (1933) by Salinas and “Le occasioni” (1939) by Montale are based on a phenomenology of memory and love address. When Montale’s and Salinas’s poetics converge on the importance of dialogue with female figure, they move away from the Proustian narrator’s trajectory. The comparison between prose and poetry demonstrates that the lyrical relationship with “you” (an element which was absent in Proust's novel) has a direct impact on the writing form. Dialogical form of lyricism appears an alternative to the “Proustian solipsism”. The lyrical subject of Salinas and Montale can share with his beloved “tu” (you) his memory and preserve love from oblivion. / Questa tesi ha la forma di una piramide rovesciata: alla base, che è in realtà la superficie, sisituano due poeti del XX secolo, la punta estrema è invece Proust, punto d’emanazione d’una certa energia intellettuale che si diffonde in tutta la modernità. Pedro Salinas e Eugenio Montale hanno letto Alla ricerca del tempo perduto immerse nel primo proustismo europeo (1920-1930). Le poetiche del poeta italiano e del poeta spagnolo convergono verso una ricerca simile del segreto invisibile, dell’essenza del mondo. Il parallelismo, inedito e intertestuale, tra le loro opere e il romanzo di Proust mette in luce alcuni aspetti fondamentali della loro poesia lirica: memoria intermittente, oblio e momenti epifanici costituiscono il perno del loro discorso soggettivo e amoroso. Le raccolte “La Voz un debida ti” (1933) di Salinas e “Le occasioni” (1939) di Montale, in particolare, sono due “canzonieri” moderni costruiti intorno alla fenomenologia della memoria e al dialogo con il tu amato. Le poetiche di Montale e di Salinas convergono verso la presenza-assenza costante di un tu femminile nel momento stesso in cui più si allontanano dal percorso del Narratore proustiano. Il confronto tra poesia e prosa lascia emergere il dialogo con il “tu lirico” come un elemento nuovo, inesistente nel romanzo di Proust, che diventa in poesia un’alternativa al “solipsismo proustiano”. La relazione esclusiva tra io e tu lirico porta il soggetto lirico alla condivisione dell’intima ricerca, per custodire la memoria e continuare l’amore contro le forme dell’oblio.

Etudier la façon dont l’individu s’exprime, se raconte et s’invente dans la littérature de l’époque romantique en Russie exige la résolution du problème posé par les spécificités du champ culturel russe. D’une part, les différents processus ou moments qui ont marqué les étapes de l’individuation en Europe occidentale (Renaissance, Réforme, Lumières) ne sont apparus dans l’histoire russe que sous des formes indirectes et affaiblies. D’autre part, les confessions auriculaires, fondamentales d’après Michel Foucault pour l’autoanalyse moderne en Europe, n’ont pas eu une grande importance dans l’Église orthodoxe russe. Enfin, les pratiques « autobiographiques » et autoréflexives en Russie restent entravées par plusieurs tabous qui émanent aussi bien des milieux intellectuels et culturels que des cercles du pouvoir. Aussi, au moment où le romantisme met à l’ordre du jour partout en Europe l’expression de soi, quelles en sont les modalités chez les écrivains russes ? En l’absence de textes autobiographiques au sens rousseauiste du terme, c’est par l’exploration des nombreuses zones d’ombre de la vie littéraire où s’épanouissait l’affirmation subjective qu’il est possible de répondre à cette question, en ayant recours à la fois à des genres « reconnus » et à des genres « mineurs », et en analysant des formes littéraires plus ou moins marginales : histoires personnelles, traductions, écriture féminine, ou encore littérature russe d’expression française. L’époque romantique, de ce point de vue, n’est pas, comme on la présente souvent dans l’histoire littéraire, un moment de passage ou de transition : il s’agit au contraire d’un moment crucial pour l’affirmation de la subjectivité dans la culture russe. / In order to study how an individual expresses and invents himself in the Russian literature of the Romantic era, it is necessary to solve the problems connected with the peculiarities of the Russian cultural field. On the one hand, the various processes that were important for individualization in Western Europe (the Renaissance, the Reformation, the Enlightenment) had in Russian history special, weakened forms. On the other hand, the secret confession, which, according to M. Foucault, is fundamental to the development of introspection in Europe, did not have much importance in the Russian Orthodox Church. In addition, autobiographical and autoreflexive practices are blocked in Russia by a variety of taboos, which are imposed by intellectual, cultural, and power circles. This raises the question of how Russian writers avoided all these limitations, when the author's self-expression had become extremely important in the European romantic literature. To answer to this question, we investigated various areas of literature, including peripheral: recognized and secondary genres, personal stories, translations, women's prose, texts written in French, etc. From this point of view, the romantic period is not just an epoch of transition, as it is often represented in the history of Russian literature, but the most important moment for affirming subjectivity in Russian culture.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-21T15:37:19Z No. of bitstreams: 2 Dissertação - Pauliany Carla Martins - 2016.pdf: 1034755 bytes, checksum: db0dda77b30b1832b3b74a9d7b31b444 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:49:54Z (GMT) No. of bitstreams: 2 Dissertação - Pauliany Carla Martins - 2016.pdf: 1034755 bytes, checksum: db0dda77b30b1832b3b74a9d7b31b444 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-12-26T12:49:54Z (GMT). No. of bitstreams: 2 Dissertação - Pauliany Carla Martins - 2016.pdf: 1034755 bytes, checksum: db0dda77b30b1832b3b74a9d7b31b444 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-09-16 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This study addresses the recurring expression of memory as a self-restriction device in Ruy Espinheira Filho's poetry. We aimed to analyze the work published in 2012, Estação infinita e outras estações (Infinite station and other stations), which comprises the poet‘s whole literary production to date. At first, we present a brief overview of the author‘s lyrical work with emphasis to two recurring themes in his poetry, memory and the reflection upon the passing of time, both in consonance with each other. Concepts around memory and memory reading – in light of Ecléa Bosi (2003), Michael Pollack (1992),Gaëtan Pïcon (1969) and Marcel Proust (1991) for our theoretical framework – articulate themselves in Ruy Espinheira Filho‘s poetry in order to shape the very lyrical subjectivity of his poetry. Moreover, based on Jon Elster‘s theory (2009) on selfrestriction in art, we show how the recurrence around themes such as transformations and losses experienced over time, as well as the attempt to capture and reflect in verse the manifestations of memory, render themselves in this poetic assemblage as self-restrictions capable of potentializing the author‘s creative expression. / Esta dissertação trata da expressão recorrente da memória como recurso de autorrestrição na poesia de Ruy Espinheira Filho. Analisa-se aqui a obra publicada em 2012, Estação infinita e outras estações, que reúne toda a produção lírica do poeta até a atualidade. Apresenta-se, primeiramente, um breve panorama da obra lírica do autor dando enfoque a dois temas recorrentes de sua poesia, a memória e a reflexão sobre a passagem do tempo, ambas em consonância. Os conceitos de memória e de memória de leitura – tendo como base Ecléa Bosi (2003), Michael Pollack (1992), Gaëtan Pïcon (1969) e Marcel Proust (1991) – articulam-se na poesia de Ruy Espinheira Filho a fim de configurarem a própria subjetividade lírica de sua poesia. Ademais, com base na teoria de Jon Elster (2009) sobre as autorrestrições na arte como pré-comprometimento racional, mostramos como a insistência em tratar das transformações e das perdas ocorridas com o transcorrer do tempo, bem como a tentativa de registrar e de refletir em versos sobre as manifestações da memó- ria, configuram-se nessa poesia como autorrestrições capazes de potencializar a capacidade criativa do autor.

La lyrique lorraine connut son plein essor au XIIIe siècle et au début du XIVe. Terre d’entre-deux, la Lorraine, héritière directe du duché de Haute-Lotharingie, a abrité un groupe de trouvères que la langue française, la culture et les aspirations politiques rapprochaient étroitement du Royaume de France, alors même qu’ils composaient en terre d’Empire. Cette étude vise d’abord à identifier ces poètes à travers une approche à la fois biographique et réticulaire permettant de découvrir l’individu et de le replacer dans son milieu socio-littéraire. Elle cherche ensuite à caractériser le style propre à chacun de ces trouvères et la persona littéraire qu’ils ont façonnée par l’écriture. Pour ce faire, elle s’appuie sur un corpus de textes dont la variété générique (pastourelles, chansons et jeux-partis) révèle l’étendue du répertoire lorrain et rend possible l’identification des spécificités de la lyrique lorraine à travers l’étude comparative d’éléments thématiques et formels. Or, cette image littéraire ne peut prendre forme que si l’on tient également compte de l’horizon d’attente d’un public qui trouve son plaisir dans la reconnaissance des topoï lyriques, subtilement adaptés par le poète, et qui cherche son plus beau reflet dans le miroir tendu par le trouvère, prenant ainsi une part active à la création littéraire et la survivance de certaines pièces. Il s’agit donc de cartographier l’espace poétique lorrain et de montrer comment, à travers son réseaulittéraire et la production de ses trouvères, cette région peut être considérée, à l’instar des régions voisines du Nord et de la Champagne, comme une terre lyrique et une province littéraire. / Lyrical poetry from Lorraine is highly prized in the thirteenth and the early first half of the fourteenth centuries. The Buffer area located between the Kingdom of France and the Germanic Empire, Lorraine has almost the same border as the duchy of Haute-Lotharingie. Trouvères who live in this area speak the same French language, share the same culture and have similar political ambitions. All of these points bring them closer to France, even though they depend politically on the Germanic Empire. The present work aims at identifying these poets thanks to a biographical approach and an analysis of social and literary networks that make it possible to uncover each poet and his background. I tried also to distinguish features of each poet and their persona created by writing. Consequently, I chose miscellaneous poems from different genres (pastourelles, jeux-partis and songs) that reveal Lorraine poetry’s variety. A comparative analysis of the themes and forms of these poems brings to light characteristics of Lorraine poetry. Nevertheless, this approach would be incomplete without a study of the poems’ reception. Actually, out of these poetic forms, comes a literary society more or less fictive in which the trouvères and their lords are side by side. This public appreciates lyrical topoï that the poet adapts cleverly and in which he finds his own picture. All things considered, public contributes to lyrical poetry’s creation. In this work, I want torepresent the poetical area of Lorraine and prove that, thanks to her literary network and to trouvères’ output, this area can be considered a veritable lyrical country, like adjoining areas, in particular Champagne and the North.

Metamorphosis of Space Models of space in the Czech and Russian lyrical poetry of the late 19th and early 20th century The work deals with the representation of space in lyrical poetry by artistic imagery. Based on the analysis of the texts of the decadent poets I. Annensky, V. Bryusov, K. Hlaváček, O. Březina describes their individual models of space.

Dans l’Amérique et les Caraïbes des XIXe et XXe siècles, l’œuvre du poète national est au cœur d’un trafic d’images qui nourrit un lien social fragile dans un temps où les collectivités reposent moins sur un lien direct entre leurs membres que sur un lien imaginé. Prenant ses distances vis-à-vis des représentations en circulation à son époque, comme les représentations exotiques de la nature, le poète offre une vision démocratique ambitieuse pour l’avenir de la communauté à travers des images nouvelles du territoire, du peuple, de l’esclavage et de l’histoire. L’ethos auctorial encourage l’appropriation de ce discours par le lecteur en désignant le poète comme figure de référence. Mais c’est surtout à travers son procédé d’écriture qui met à mal les normes littéraires de son temps que celui-ci est à même d’influer sur la société. Plutôt qu’ils ne parviennent à saisir l’esprit de leur peuple, Whitman, Martí et Césaire participent par leur travail sur le fragment, les formes populaires ou le tremblement du sens à la création d’un devenir collectif. / In 19th and 20th centuries America and West Indies, the national poet’s works lay at the centre of a traffic of images. This traffic feeds the fragile social ties of young collectivities, at a time when communities are bound by imagination rather than by direct contact between their members. Distancing themselves from the representations of the community circulating at that time, like the exotic images of the New World’s nature, the poet offers an ambitious democratic vision for the future which is channeled through images of the territory, the people, slavery and history. The poet’s ethos encourages the reader to appropriate this discourse by presenting the author as a role model. However, it is mainly thanks to his style, at odds with the literary norms of his time, that the poet is able to act upon society. Whitman, Martí and Césaire do not so much contrive to capture their people’s spirit, as they participate through their work on the fragment, on popular poetical forms or on the destabilizing of meaning, in the creation of a common devenir.