O objetivo da presente pesquisa foi o de verificar qual seria a configuração poética da melancolia em alguns poemas ultrarromânticos brasileiros. O tema é lugar-comum nessa escola literária e foram selecionados poemas de Aureliano José Lessa em que a melancolia se ressaltasse já em uma primeira leitura. As análises revelaram uma apropriação da melancolia que passava longe de uma definição rigorosa dela enquanto desenvolvimento de um estado doentio, de um sintoma. Foi possível, inclusive, indicar com determinada acuidade epítetos que qualificavam a melancolia em função de seu papel na análise. Dessa forma, pôde-se falar em melancolia da História, melancolia da redenção, entre outras categorias / The purpose of this research was to investigate the poetical structure of melancholy in some very romantic Brazilian poems. This subject is a common matter in that literary trend and poems by Aureliano José Lessa were selected in which melancholy was focused at a former reading. Our analyses displayed that the meanings of melancholy seen in his work could not be defined simply as an evolution of a sickness, as a symptom. Moreover, it was possible to reveal with accuracy epithets that qualified melancholy according to the role it played in that analysis. Therefore, we could realize the manifestation of melancholy of History, melancholy of redemption, among other categories

O objetivo da presente pesquisa foi o de verificar qual seria a configuração poética da melancolia em alguns poemas ultrarromânticos brasileiros. O tema é lugar-comum nessa escola literária e foram selecionados poemas de Aureliano José Lessa em que a melancolia se ressaltasse já em uma primeira leitura. As análises revelaram uma apropriação da melancolia que passava longe de uma definição rigorosa dela enquanto desenvolvimento de um estado doentio, de um sintoma. Foi possível, inclusive, indicar com determinada acuidade epítetos que qualificavam a melancolia em função de seu papel na análise. Dessa forma, pôde-se falar em melancolia da História, melancolia da redenção, entre outras categorias / The purpose of this research was to investigate the poetical structure of melancholy in some very romantic Brazilian poems. This subject is a common matter in that literary trend and poems by Aureliano José Lessa were selected in which melancholy was focused at a former reading. Our analyses displayed that the meanings of melancholy seen in his work could not be defined simply as an evolution of a sickness, as a symptom. Moreover, it was possible to reveal with accuracy epithets that qualified melancholy according to the role it played in that analysis. Therefore, we could realize the manifestation of melancholy of History, melancholy of redemption, among other categories

Building on recent scholarship in the history of art which has started to reappraise the meaning of grotesque and scatological motifs, this thesis examines how digestion was conceived of as a model of creation, and how this was translated visually. Renaissance creativity was increasingly modelled on a series of natural processes like digestion, following a trend in favour of Aristotelian psychology. However, it has been largely overlooked in comparison to the bleeding, the pneumatic, and especially the procreative natural models, which have been extensively studied. The central argument of this thesis is that digestion constituted an alternative-albeit less 'decorous'-model of creation, denoting the intervention of a more 'earthbound' ingenium. I argue that this model was used by certain classes of artists as an acknowledgement of a strong engagement with materials and of the labour of a round-the-clock imagination. Goldsmithing and printmaking are artistic professions whereby the artistic process was often considered as an act of 'soiling' oneself, both in the sense of the body and the phantasia. This thesis focuses on a period spanning c. 1530 to 1675, from Rabelais' works to the facetious printer Jacques Lagniet. It mines a corpus of little-studied textual and visual sources from the north of the Alps, examining a continuity between France and the German lands: geographical areas which both had an especially pronounced 'culture of excretion'. From a broader perspective, this research responds to a widespread scholarly call for more attention to the organic soul and the lower body, nuancing the alleged hegemony of the brain and the higher senses throughout history. It seeks to modify the perception of early modern artists and viewers as cerebral intellectuals, presenting them as individuals who also 'thought with their guts'.