Face à une œuvre souvent présumée hermétique et à un sujet lyrique fuyant, la critique a souvent considéré les stratégies qui président à l’avènement d’une création en apparence impersonnelle et les masques soigneusement apposés par le poète lui-même comme des obstacles à l’émergence du sens : comprendre Saint-John Perse exige alors de le démasquer. Tout en originant notre recherche dans ces découvertes pérennes, nous prenons ici le contre-pied de cette démarche pour étudier les masques en eux-mêmes, tels qu’ils se donnent à lire dans le grain du texte, non comme des écrans ou des outils de mystification mais comme des révélateurs. Ainsi envisagés dans la linéarité constitutive des Œuvres complètes et dans une perspective bien plus que figurale, le Conquérant, l’Étranger ou encore le Shaman apparaissent comme les modalités d’émergence d’un portrait diffracté, celui de Saint-John Perse, cet autre en lui à qui prête vie Alexis Leger. Au sein d’un ample drame poétique dont ils renouvèlent profondément la lyrique, cette galerie de personnages mime ses postures, anime le récit de son regard, multiplie les auxiliaires de sa quête ontologique et colporte sa parole singulière ; les masques du Poète s’avèrent en cela emblématiques de son être-au-monde et de la poésie telle que la conçoit Saint-John Perse, à la fois renouvellement et renouement. / In response to a work often considered as abstruse and a lyrical and elusive subject, critics have often sized up the strategies of the advent of a creation that seems impersonal and the masks thoroughly set down by the poet himself as an obstacle to the emergence of meaning; in order to understand Saint-John Perse it is essential to unmask him. While originating our research in/on these perennial discoveries, we have taken the opposite course to this approach in order to study the masks themselves, as they reveal rather than hide. So envisaged in the essential linearity of the complete Works and in a much more than figural perspective, the Conqueror, the Foreigner or still the Shaman seem as the modalities of emergence of a diffracted portrait, the Saint-John Perse’s one, this other one in him to whom life Alexis Leger lends. Within an ample poetic drama of which they change profoundly the Lyric, this gallery of characters mimes his postures, leads the narrative of its appearance, multiplies the auxiliaries of his ontological quest and spreads its singular word; the masks of the Poet turn out in the symbolic of his being to the world and of the poetry such as conceives it Saint-John Perse, at the same time renewal and renouement.

Cette réflexion porte sur l’influence de la poésie lyrique dans les œuvres théâtrales du romantisme au symbolisme. En essayant de confronter les corpus du drame romantique et du théâtre symboliste et en exhumant celui du théâtre des poètes parnassiens et de leurs contemporains, elle entend dégager des constantes et mettre en lumière une crise du théâtre aristotélicien, dont les effets se prolongent jusque dans les dramaturgies de l’extrême contemporain. Mais penser un théâtre de poètes, autrement dit un théâtre qui intègrerait les propriétés de la poésie lyrique au sein du genre dramatique, revient à soulever un certain nombre de paradoxes.Ce théâtre des poètes est d’abord un théâtre qui minore de plus en plus le poids de l’action, au profit de l’expression lyrique. Le drame et le système actantiel qu’il véhicule tendent à se réduire à une seule situation, unique et statique, de laquelle les conflits intersubjectifs ont été évacués. La poésie lyrique, de par sa subjectivité, intériorise le drame et c’est désormais au sein d’un même sujet qu’il faut chercher les composantes dramatiques. Son intérêt pour l’intériorité conduit le théâtre des poètes à délaisser le système de la représentation mimétique, parce qu’il préfère, à la réalité objective et concrète, le domaine plus abstrait des idées. Cette subjectivité qu’importe la poésie dans le genre théâtral pousse finalement les dramaturges à braver le tabou absolu du théâtre aristotélicien, à savoir la présence du poète dans son œuvre : la lyricisation du théâtre entraîne ainsi la manifestation du poète dans sa pièce. / This reflection deals with the influence of lyrical poetry over theatrical works from romanticism to symbolism. By confronting the corpuses of the romantic drama and the symbolist theater, but also by exhuming the Parnassiens’ theater, it envisions encountering constants and highlighting a crisis of Aristotelian theater whose effects extend up until the most contemporary dramaturgies. But considering the existence of a theater by poets, one that integrates the characteristics of lyrical poetry into the dramatic forms, raises several paradoxes. This theater by poets is before all one that reduces more and more the importance of the action, in favour of the lyrical expression. The drama and the actantial model it implies get converted in one unique and static situation, where all the intersubjective conflicts have been erased. Because of its subjectivity, lyrical poetry internalizes the drama: and thus all the dramatic components have to be searched for inside the subject. Its interest for interiority leads the theater by poets to abandon the mimetic representation system, because of its favouring of the abstraction of ideas over the objective and material reality. This subjectivity imported by poetry into the dramatic form explains why the dramatists break the absolute taboo of Aristotelian theater: the poet’s presence inside his play. The lyricisation of theater entails the poet’s manifestation in a form where it is prohibited.

The music of Samuel Barber is well known in the vocal, piano, and string literature; however, little of his chamber music involves woodwinds, and in particular, only one work involves the woodwind quintet. Summer Music, originally commissioned as a septet, developed after the premiere of the work into the woodwind quintet version, with the assistance of the New York Woodwind Quintet. Barber is considered a contemporary .romantic. composer, evidenced through his use of lyricism. Summer Music, a standard in the woodwind quintet literature, should be included in every professional flutist's repertoire. The intent of this dissertation is to consider Barber's use of lyricism as a determinant of the form of Summer Music, as well as to compare the differences between the manuscript and the published edition.

Au cours du XIXe siècle a eu lieu une grande réorganisation des genres poétiques. La poésie lyrique, parfois considérée comme mineure par rapport aux grands genres, a fini par absorber tous les autres genres poétiques. C'est dans ce courant qu'est né le mot Lyrisme. Pourtant cette notion doit toujours être éclaircie. Théodore de Banville était un poète considéré éminemment lyrique par ses contemporains et lui-même il le reconnaît. De plus, Banville est un poète qui avait une très vive conscience critique de la poésie lyrique et de son corrélat, le lyrisme. Poète lyrique, Banville est aussi un théoricien du lyrisme. D’où l’intérêt de confronter sa théorie du lyrisme et sa pratique, pour mieux saisir non seulement la nature du lyrisme banvillien, mais aussi le développement du lyrisme en général au cours de la seconde moitié du siècle. Dans un premier temps est traitée la théorie du lyrisme chez Banville. L’objet privilégié sera le Petit traité de poésie française et les critiques, sans oublier divers autres textes, tels que la préface et les avant-propos des œuvres. La deuxième partie décrit la pratique du lyrisme dans l’œuvre de Banville. On analyse la diversité admirable des formes strophiques, basée sur le principe de l’expression lyrique, tant dans ses recueils poétiques que dans son théâtre, pour en tenter dans la troisième partie la synthèse. / During the nineteenth century there was a major reorganization of poetic genres. Lyric poetry sometimes considered minor compared to the major genres, eventually absorb all the other poetic genres. It is in this current was born the word lyricism. Yet this concept must still be clarified. Théodore de Banville was a poet regarded by his contemporaries as lyrical, as the poet himself acknowledged. In addition, Banville is a poet who had a very strong critical awareness of lyric poetry and its correlate, lyricism. Lyric poet, Banville is also a theorist of lyricism. Therefore it is important to confront the theory and practice of lyricism, in order to understand better not only the nature of the lyricism of Banville, but also the development of lyricism in general during the second half of the century. Firstly, the theory of the lyricism in Banville is treated. The privileged object is Petit Traité de poésie française, not to mention various other texts, such as critics, and prefaces. The second part describes the practice of lyricism in the work of Banville, while the third part establishes the synthesis. There is a wonderful diversity of strophic forms based on the principle of lyrical expression both in his poetry and in his plays.

This thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy's eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy's poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d'artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy's poetry.

Jean Sénac, poète algérien du XXème siècle, est avant tout connu pour son engagement en faveur de l’indépendance algérienne. Ses poèmes dénoncent l’autoritarisme colonial comme ils révèlent la violence morale et sociale qui accompagne la mise en place du nouveau régime politique de Houari Boumedienne succédant à celui, plus en adéquation avec les attentes du poète, d’Ahmed Ben Bella. Mais ce serait amputer l’oeuvre poétique sénacquienne d’une grande richesse thématique et stylistique que de la résumer à quelques uns de ses plus grands recueils « politiques ». Car, derrière la voix d’un homme engagé dans le combat sociopolitique de son pays s’entend celle d’un artiste qui s’interroge, dès ses premiers écrits, sur les fondements de son existence, sur la réalisation du sujet en tant qu’homme, mais aussi en tant que poète, et sur les possibilités ontologiques et littéraires d’y parvenir. Une parole lyrique fonde et / ou transcrit alors la quête existentielle en même temps qu’elle interroge sa légitimité et l’espace de son déploiement. La problématique de l’interdépendance entre voeu d’unité ontologique et pluralité des modalités d’énonciation permet d’appréhender le polymorphisme stylistique et thématique de cette oeuvre singulière, polymorphisme au service d’un cheminement ontologique étroitement nourri des révélations générées par l’écriture poétique. La première partie de ce travail a donc pour vocation de mettre en lumière la corrélation réciproque entre l’expérience phénoménologique et sensitive du monde menée par le poète et celle de l’écriture, corrélation sur laquelle repose la prise de conscience réfrénée puis acceptée d’une diffraction du sujet. L’écriture poétique, espace de représentation et de construction de l’ego, renseigne le sujet lyrique sur la nature de sa disparité et devient le champ d’expérimentation d’un projet de réunification du corps et de l’esprit en lieu du poème ; ce que Jean Sénac nommera le « corpoème ». La seconde partie fait état d’un degré supérieur d’interrogation existentielle et analyse l’enjeu verbal et ontologique d’une substitution du poète à Dieu. Jean Sénac éprouve le besoin de se confronter à la divinité, référentiel d’un espace absolu, afin de mesurer la nécessité et les possibilités d’une incarnation définie selon ses propres concepts. L’écriture préfigure donc un « parcours de soi » inachevable en même temps qu’elle instaure les limites d’un espace de re-présentations où le poète appréhende la fragmentation du « moi » avant d’en faire un motif de justification d’un questionnement cyclique sur les conditions de son identité. Toutes les figures du sujet lyrique convergent alors dans cet espace d’agencement que représente l’oeuvre poétique, et leur rassemblement autorise le poète à profiler la voie /voix d’une réalisation singulière / The Algerian Twentieth Century poet Jean Senac is well known for his commitment for Independence of Algeria. His poems not only denounce colonial autoritarism but also reveal moral and social violences closely linked to Houari Boumedienne policy. Boumedienne follows Ahmed Ben Bella’s regime that Senac agrees with. But Senac’s work isn’t limited to a political poems collection. He is a true artist above all, who questions himself about the fondamental themes of literature. A lyrical word founds and transcribes existential quest and makes its legitimacy an interrogation. The main problem about interdependence between wish ontarienne unity and variety of terms allows the multiplicity of speech and themes in this singular work. The first part of the demonstration may put into relief a reciprocal relation between phenomenological and sensitive experience of world Senac follows. Poetic writing, scene of ego’s construction and representation, gives informations to lyrical subject about the reasons of its dissimilarities. It becomes as well the field of experimentation about a link between body and spirit, what Sénac calls the « corpoème ». The second part should reveal a higher step in existentiel questioning and should analyse the formal and ontological stake of Sénac’s substitution in God. Jean Senac needs a confrontation with divinity, the absolute place, in order to assess the necessity of a potential incarnation determined by his own concepts. The writing feels an unfinished « parcours de soi » (an unfinished self route) and establish the ends of representation space where the poet grasps the ego’s fragmentations. Every lyrical subjects figures converge in this field of layout what is poetic work. Their association allows the poet to open up the voice/the way of a singular realisation

L’étude diachronique des écrits en français de Cioran montre que le dynamisme de cette œuvre a pour source la manière d’écrire. L’univers idéel est statique. La manière de dire est en mouvement. La volonté de s’imposer sur la scène culturelle française pousse « le métèque » à mettre fin à son lyrisme. La frivolité qui consiste à jouer avec les idées en est la conséquence. Elle est à l’antipode de l’écriture philosophique dont la principale raison d’être est l’appréhension de l’essence des choses. Après l’échec des Syllogismes, Cioran s’est rendu compte qu’il a mal misé sur la frivolité des Français. A partir de La Tentation d’exister, il cherche à créer un texte relativement suivi. Un sceptique ne peut endurer cette corvée qu’en recourant à la fiction. La sécheresse des concepts abstraits est adoucie grâce à un langage métaphorique. La narration rompt avec les principaux procédés de l’écriture philosophique comme l’analyse et l’argumentation. Le texte évolue par contiguïté sémantique. Le conflit entre vérité et littérature devient moins intense. Le vieux Cioran, en proie au compte-gouttes de la vieillesse, souffre de ne plus pouvoir se manifester. Recourir à ses expériences quotidiennes ou à des passages lus est une source de matière verbale. Les scènes de la vie quotidienne rafraîchissent la conscience desséchée par la recherche exclusive de l’idée. La citation participe du même travail de concrétisation. La vie quotidienne a une valeur cognitive supérieure à celle du raisonnement philosophique. De même, les écrits des maîtres spirituels, des mystiques et des poètes sont plus pénétrants que les ouvrages philosophiques. Littérature et vérité se sont réconciliées. / The diachronic study of the writings in French of Cioran shows that the dynamism of this work has for manner source to write. The ideal universe is statistical. The manner to say is in movement to meet different challenges. The willingness to impose itself on the French cultural scene pushes the "Wog" to put an end to his lyricism. The frivolity of playing with ideas to create unusual forms is the consequence. It is the antithesis of the philosophical writing whose primary purpose to be the understanding of the essence of things. After the failure of Syllogismes, Cioran realized that he bet badly on the frivolity of the French people. From The Temptation to exist, it seeks to create a relatively tracking text. A skeptic cannot endure this chore than through fiction. The drought of abstract concepts is eased thanks to a metaphorical language. The narrative breaks with the main processes of philosophical writing as deduction, induction, analysis, synthesis and arguing. The text evolves by semantic contiguity. The conflict between truth and literature becomes less intense. The old Cioran, in prey to the dropper of the old age, suffer of more power to appear. To resort to its daily experiences or read passages is a source of verbal matter. The scenes of daily life refresh the dry conscience by exclusive research idea. The quote participates the same search for concrete. The daily life has a cognitive value than the philosophical reasoning. Similarly, the writings of spiritual teachers, mystics, poets and writers are more penetrating than philosophical work. Literature and truth are reconciled.

A dissertação apresenta uma leitura comparativa de poemas da moçambicana Noémia de Souza, do angolano Agostinho Neto, do brasileiro Landê Onawale e do grupo de rap maranhense Clã Nordestino. Partindo do pressuposto de que os poemas estudados relacionam-se a contextos de guerra, o trabalho propõe o conceito de lirismo de libertação, pautado na articulação das dimensões ética e estética dos textos. / The dissertation presents a comparative reading of poems of Mozambican Noémia de Souza, the Angolan Agostinho Neto, the Brazilian Landê Onawale and rap group Clã Nordestino of Maranhão. Assuming that the poems studies relato to the context of war, the paper proposes the concept of emancipation lyricism, based on the articulation of the aesthetic and ethical dimensions of texts.

A troca de cartas entre os modernistas brasileiros fez circular textos inéditos e debates teóricos sobre a produção literária moderna, produzindo redes de sociabilidade letrada e consensos estéticos e políticos. Este trabalho tem por objetivo o estudo de alguns temas discutidos na correspondência de Mário de Andrade com alguns de seus interlocutores durante os anos de 1920. Os principais temas estudados são: personalidade autoral de estilos modernos, influência, lirismo e língua brasileira moderna. / The exchange of letters among the Brazilian modernists was responsible for the circulation of unpublished works and theoretical debates on literary modernism, establishing nets of literate sociability and aesthetic and political consensus. This work aims to study some topics discussed in the correspondence of Mário de Andrade with some of his interlocutors during the 1920s. The main topics studied in this work are: authorial personality of modern styles, influence, lyricism, and modern Brazilian language.

Made available in DSpace on 2016-04-28T19:58:37Z (GMT). No. of bitstreams: 1 Patricia Marques.pdf: 873059 bytes, checksum: 1360006258936758282f93d7f5598730 (MD5) Previous issue date: 2010-10-01 / Secretaria da Educação do Estado de São Paulo / The following essay is aimed to reflect the poems from the book Quaderna (1960), by the poet João Cabral de Melo Neto. Its focus is to reflect on the tension knot that generates a reversal lyricism from the traditional lyricism. In order to reach this goal, the following questioning is raised: To what extent, does the book Quaderna, materializes a lyric-erotic-loving voice in the poetic of João Cabral de Melo Neto? The theoric reason that guides this paper is composed by two strands, the first one on theoric that tried to apprehend in theories such as Hugo Friedrich s and Käte Hambruger s, the lyricism type registered in Quaderna, the second strand looked for in João Cabral´s criticism the possibilities of female thematization through a loving-erotic vein. The paper tries to explore, throughout three chapters, the poems imagery wealth,outstanding primarily the poetic width of Cabralian speech, that concerns the visuality,plasticity,concretion and sensuousness. Among other considerations, it´s aprehended in Quaderna the love-lyricism thematic that emphasizes the female through a sensual erotic language that creates the similarities between the woman and the natural elements, besides it also prioritizes the poetic writing as a lyricism / A presente dissertação tem como objetivo refletir sobre poemas do livro Quaderna (1960), do poeta João Cabral de Melo Neto, a fim de apreender o nó tensional que gera um lirismo às avessas do lirismo tradicional. Para alcançar essa meta, levanta a seguinte indagação: Até que ponto o sujeito poético em Quaderna materializa uma voz lírico-erótico-amorosa na linguagem poética de João Cabral de Melo Neto? A fundamentação teórica que norteia este trabalho é composta por duas vertentes: uma teórica, que buscou apreender por meio de teorias como as de Hugo Friedrich e Käte Hamburger, o tipo de lirismo inscrito nos poemas selecionados; a outra, teórico-crítca, que buscou, nas proposições poéticas do próprio poeta, as possibilidades da tematização do feminino por uma veia erótico-amorosa. O trabalho procura explorar, ao longo de três capítulos, a riqueza imagética dos poemas, ressaltando primordialmente a abrangência poemática do discurso cabralino, no que diz respeito à visualidade, plasticidade, concreção e sensorialidade. Entre outras considerações, apreende-se em Quaderna uma temática lírico-amorosa que enfatiza o feminino por meio de uma linguagem erótico-sensual que cria similitudes entre mulher e elementos naturais, além de priorizar a própria escritura poética como fonte de lirismo