A proposta do presente trabalho é estudar a poesia de Manuel Bandeira, atentando para o diálogo que nela se estabelece entre a lírica medieval e a lírica moderna. A partir da análise de determinadas composições, indica-se as ideias tópicas (os topoi) da Idade Média reinterpretadas e reelaboradas na poética de Bandeira tais como: a inacessibilidade do ser amado, a consagração da submissão absoluta, humilde e paciente e a total entrega bem como se aponta a releitura de certos tópicos, como o senhal e a não-nomeação da amada, no contexto da modernidade e do modernismo brasileiro. / The proposal of this study is to analyse and interpret Manuel Bandeira´s poetic production, focusing on the dialogue entertained between the medieval and the modern poetry. Considering the analysis of certain poems of the Brazilian poet, we aim at eliciting the main ideas from the Middle Age that can be reinterpreted and reelaborated in Bandeira´s poetic works for instance: inacessibility of the loved person, total submission and subservience, and the humble and patient attitude of the troubadour towards the lady as well as the intention is to indicate the different approach to certain procedures, including senhal and the convention that prescribes that the identity of the beloved lady has to be maintained in secret, unveiled all this in the context of modernity and Modernism in Brazil.

A proposta do presente trabalho é estudar a poesia de Manuel Bandeira, atentando para o diálogo que nela se estabelece entre a lírica medieval e a lírica moderna. A partir da análise de determinadas composições, indica-se as ideias tópicas (os topoi) da Idade Média reinterpretadas e reelaboradas na poética de Bandeira tais como: a inacessibilidade do ser amado, a consagração da submissão absoluta, humilde e paciente e a total entrega bem como se aponta a releitura de certos tópicos, como o senhal e a não-nomeação da amada, no contexto da modernidade e do modernismo brasileiro. / The proposal of this study is to analyse and interpret Manuel Bandeira´s poetic production, focusing on the dialogue entertained between the medieval and the modern poetry. Considering the analysis of certain poems of the Brazilian poet, we aim at eliciting the main ideas from the Middle Age that can be reinterpreted and reelaborated in Bandeira´s poetic works for instance: inacessibility of the loved person, total submission and subservience, and the humble and patient attitude of the troubadour towards the lady as well as the intention is to indicate the different approach to certain procedures, including senhal and the convention that prescribes that the identity of the beloved lady has to be maintained in secret, unveiled all this in the context of modernity and Modernism in Brazil.

Dans « Crise de vers » (1897), Mallarmé déclare « la disparition élocutoire du poëte », formule qui inspire aux critiques littéraires du milieu du XXe siècle la revendication de « la mort de l’auteur ». Si le poète s’efforce de disparaître, comment peut-on considérer le je parlant et le centre de la subjectivité inscrite inévitablement dans le poème ? L’impersonnalité, perçue d’abord par Mallarmé au moment de sa crise spirituelle des années 1860, est-elle compatible avec ce je ineffaçable du poème ? À partir de ces questions, la présente thèse, composée de deux parties, se propose d’interroger sa poétique de l’impersonnalité. Le premier volet vise à tracer chronologiquement l’évolution de l’idée d’impersonnalité en s’appuyant sur le discours théorique du poète. Cette idée, qui se rattache au début à un état existentiel du sujet créateur, porte au fur et à mesure sur la technique artistique et l’effet produit de l’œuvre, au cours de ses critiques sur Manet (1874-1876), Wagner (1885) et le théâtre contemporain (1886-1887). En analysant les poèmes publiés entre 1876 et 1887, période marquée par ce développement, le second volet vise à éclairer le côté pratique de l’impersonnalité. Pour saisir le paradoxe apparent de l’exigence théorique et du je poétique, nous examinerons d’un point de vue énonciatif le poème qui se produit d’une énonciation du sujet parlant. Sur ce plan de l’acte de langage, la quête mallarméenne de l’impersonnalité, articulée à celle de la pureté de la poésie, parvient, malgré son discours à la première personne, à la construction dans et par le poème d’un espace-temps fictif et théâtral qui nous apparaît à chaque lecture. / In “Crise de vers” (1897), Mallarmé declared “la disparition élocutoire du poëte”, which inspired the concept of “the death of the author” among the literary critics in the middle of 20th century. If the poet attempts to disappear, how then do we think of the speaking I and the subjectivity that is inevitably built into the poem? Is the impersonality, which Mallarmé perceived first during his spiritual crisis in the 1860s, compatible with this indelible I ? Based on these questions, the present thesis, composed of two parts, aims to investigate Mallarmé’s poetic of impersonality. The first part aims to draw chronologically on the evolution of his idea of impersonality, relying on his theoretical discourse. Relating to the beginning of an existential state of the creator, this idea applies gradually to the artistic technic and to the effects produced by works of art, through Mallarmé’s criticisms of Manet (1874-1876), Wagner (1885), and the contemporary theatre (1886-1887). Analyzing the poems published between 1876 and 1887, the period characterized by the development of the idea, the second part aims to clarify the practical side of the impersonality. For understanding the apparent paradox of the theoretical claim of the impersonality with the poetic I, we examine the poem produced from the enunciation of the speaking subject from a viewpoint of enunciation. In these pragmatic terms, Mallarmé’s search associated with that for poetic purity, has taken, despite his poetic discourse in the first person, the form of a poem of a fictional and theatrical space-time that becomes apparent to us on every reading.