Cette thèse porte sur la poétique du roman de Victor Hugo, Theodor Fontane et Thomas Hardy en s'appuyant plus spécifiquement sur l'étude de L'Homme qui rit (1869), Errements et Tourments (1888) et Tess d'Urberville (1891). En rapprochant ces trois romanciers majeurs mais tenus à l'écart des théories générales du roman, il s'agit de montrer le maintien d'une conception du roman moderne comme forme poétique du monde, s'inscrivant dans un horizon de pensée idéaliste, progressiste et critique. Hugo, Fontane et Hardy, romanciers qui se disent avant tout poètes, font le choix de faire du roman une tragédie, forme poétique du monde qui va à l'encontre du prosaïsme moderne et romanesque théorisé par Lukacs, à la suite de Hegel. Face au nihilisme et aux théories du roman réaliste qui voient le jour dans la seconde moitié du XIXe siècle et tentent de définir – au sens restrictif du terme – le genre romanesque, ils retrouvent le modèle du roman romantique et le redéfinissent face au roman réaliste. Leur poétique est alors fondée sur la « poiétisation » de la prose, autrement dit, sur l'imagination, le symbolique et le métaphorique. Ils affirment ainsi la spécificité et la possibilité d'une expérience poétique, c'est-à-dire subjective, héroïque et morale du monde, ainsi que la capacité du roman à produire un savoir poétique sur le monde et l'histoire. / This thesis deals with the poetics of the novel in Victor Hugo, Theodor Fontane and Thomas Hardy, with a specific focus on The Man who Laughs (1869), Trials and Tribulations (1888) and Tess of the d'Urbervilles (1891). By bringing together these three novelists who are widely acknowledged as major writers yet ignored by general theories of the novel, this study will show how a vision of the modern novel as a poetic rendition of reality, with an idealist, progressive and critical background, has maintained itself. Hugo, Fontane and Hardy, three novelists who considered themselves to be poets first and foremost, opted to turn the novel into a tragedy, a poetic rendition of reality which stands in contrast with Lukacs’ post-Hegelian theories of the modern novel as a prosaic literary genre. In the face of nihilism and the theories of the realist novel which surfaced in the second half of the XIXth century and attempted to define – in the restrictive sense of the word – the genre of the novel, they turned back to the model of the Romantic novel and reinvented it at a time when the realist novel was preeminent. Their poetics was therefore based on the “poietisation” of prose, in other words, based on the imaginary, the symbolic and the metaphoric. This enabled them to assert the specificity and possibility of a poetic, that is to say subjective, heroic and moral experience of the world, as well as the ability of the novel to generate poetical knowledge about the world and history.

À partir d'une étude philologique attentive de l'Esprit géométrique, je montre l'évolution épistémologique de Pascal qui, découvrant la corruption naturelle d'un langage humain impuissant à assurer ses propres fondements, quitte ses positions cartésiennes. Par contrecoup, la prétention de la raison à formuler des principes universels est anéantie : toute connaissance rationnelle se fonde sur un socle autoritaire. Je souligne alors l'importance actuelle de l'œuvre mathématique pascalienne par sa mise en perspective dans la crise moderne des fondements. En lui appliquant les méthodes de la poétique aristotélicienne, je la caractérise par sa sensibilité figurative, qui s'étend à l'œuvre non scientifique et en révèle l'unité esthétique. Je montre ensuite l'originalité philosophique de Pascal qui sort du scepticisme en recherchant de nouveaux usages de la langue propres à communiquer la certitude. Je reprends le débat sur le chantier des Pensées pour en distinguer les éditions objectives, qui restituent le seul classement dont nous disposons effectivement, des éditions apologétiques qui le recomposent à partir de certaines des indications laissées par l'auteur. La grande originalité des Pensées classées est de proposer une recherche du bonheur sans a priori religieux. Elles établissent les contrariétés de la condition humaine, que philosophies et sciences humaines sont impuissantes à décrire ou résoudre car elles refusent, par principe, la contradiction. L'Écriture chrétienne entre alors en scène pour présenter le seul langage capable de faire aboutir la recherche, parce qu'acceptant et faisant signifier la contradiction. La double nouveauté est ici d'introduire la Bible dans le champ de l'existence par nécessité, et comme un simple livre, dont il s'agit de décrire le pouvoir cognitif. Structuré par la narration et par la figure (typologique), ce modèle biblique élargit la connaissance rationnelle et son référentiel spatio-temporel restreint. Il ouvre ainsi à son lecteur un horizon d'existence et lui montre un chemin pour réparer ses ses contrariétés. On voit là chez Pascal un profond renouveau de la pensée figurative et de l'approche littéraire de la Bible. / A thorough philological study of l'Esprit géométrique shows an evolution in Pascal's epistemology. Discovering a form of natural corruption in the incapacity of self foundation of the human langage, he leaves his former Cartesian positions. As a consequence, Reason's pretention to formulate universal principles is erased : every rational knowledge is based on a form of authority. This reveals the importance of Pascal's scientific work as regards to the crisis of fundation in modern Science. Using Aristotle's Poetic's methods, I show that Augustinian notion of figuration both applies to mathematics and Biblic litterature, and gives the aesthetic unity of the whole Pascal’s work . Its originality in philosophy is to get rid of scepticism by searching new languages capable of certitude. I reopen a long debate on the unaccomplished Pensées. I propose to distinguish between objective and apologetic editions. The latter are based on some of the author's indications on his intentions, the former use the only classification available. The thorough originality of what I call Les Pensées classées is to propose a quest for happiness with no religious a priori. After having established the contrarieties of humain condition which no philosophy or human science can describe or resolve because they reject contradiction, as a principle, this classification introduces the Christian Scripture as it carries the only language capable of accepting contradiction and giving a meaning to it. There are two new approaches here : introducing the Bible in the field of existence by necessity, and as a simple book with cognitive power. Structured by narration and figuration (typology), this Biblical model extends rational knowledge by extending its restricted space-time referential. It enlarges the horizon of existence of the reader and shows a path for repairing their contrarieties. Pascal deeply renews the classic figurative thought and the poetic approach of the Bible.

Le déséquilibre et le désordre du réel ont modifié chez l’homme baroque la vision de son être; leur présence écarte la gratuité de ses actes. Ses fascinations sont des indices révélateurs, ses rejets et ses attachements représentent des témoignages et des messages à déchiffrer. Notre étude essaie d’expliquer les raisons de la fascination de la génération baroque pour l’élément liquide à travers l’examen de l’imaginaire de ses aspects dans l’oeuvre baroque. L’imaginaire ou ce que Gilbert Durand appelle ‘’le capital pensé’’ de l’homme est une entité stratifiée dans la durée, plusieurs facteurs participent à sa structuration. Par conséquent, son examen exige une approche pluridisciplinaire et interdisciplinaire. Grâce aux sciences cognitives qui représentent la voie par laquelle passe l’avenir des recherches sur l’imaginaire selon Philippe Walter, la présente étude essaie d’éclairer l’Imaginaire baroque à travers l’examen de la valeur de l’élément de l’eau dans des textes publiés entre 1580 et 1640. Notre travail utilise quatre des six sciences cognitives qui sont désignées par Georges A. Miller et qui instaurent à travers leurs corrélations des domaines interdisciplinaires. Pour explorer les représentations de cet élément dans le texte baroque avec un objectif qui consiste à leur proposer des explications causales sont indispensablement mobilisées l’anthropologie, la philosophie, la psychologie, et la linguistique. L’imaginaire baroque est reconstitué dans notre recherche grâce aux 5 croisements établis entre les sciences précédentes et les disciplines de l’histoire de l’art, de la critique littéraire, du folklore, de l’ethnologie, de la mythologie, de la sociologie, et de l’histoire des religions. Notre travail examine l’un des aspects de la nature dans l’imaginaire baroque. A travers nos analyses, nous essayons de retracer l’être et l’existence de l’homme baroque grâce aux présences de l’un de leurs constituants dans l’oeuvre de ce dernier. L’élément de l’eau est ce constituant qui représente l’un des aspects de la nature. La problématique dans notre travail, est composée d’un volet qui porte sur la valeur de l’élément de l’eau dans l’oeuvre baroque. Il y a un second volet visant à prouver que l’examen de l’imaginaire représente un outil permettant de cerner les reliefs et les complexités d’un texte baroque et un texte ayant une structure similaire avec celle que possède ce dernier, c’est-à-dire une structure incohérente et non linéaire. Notre recherche aimerait proposer une lecture de l’imaginaire de la matière dans le texte baroque et dans le texte littéraire en général. Elle aimerait démontrer que l’examen distant et interactif des actes de l’homme aide à leur trouver des explications; et que l’examen de l’imaginaire d’une oeuvre qui représente un acte de l’imaginaire de l’homme, aide à cerner ses implicites, les raisons de sa création, et la psychologie qui a dominé les circonstances de sa production. / The imbalance and the chaos in which Baroque man lived, changed his vision of his entourage and at the same time they excluded the gratuitousness of his actions. His fascinations are messages to be deciphered, his rejections and attachments represent revealing clues and testimonials. Our study tries to explain the reasons of the fascination of the baroque generation for the liquid element through the examination of the imaginary of its aspects in the baroque work. The imaginary or what Gilbert Durand calls "thought capital" of man is a hybrid organism, several factors participate in its structuring therefore its examination requires an interdisciplinary approach. Through cognitive science, that represent the future of research on the imagination according to Philippe Walter, this study tries to illuminate the Baroque Imagination through the examination of the value the element of water in the works published between 1580 and 1640. Our work uses four of the six cognitive sciences which are designated by Georges A. Miller and which establish interdisciplinary fields through their correlations. To explore the representations of this element with the Anthropology, philosophy, psychology, and linguistics are indispensable to the objective of offering them causal explanations. The baroque imagination is reconstituted in our work by combining these sciences with the disciplines of the history of art, literary criticism, folklore, ethnology, mythology, sociology, and the history of religions. Our work examines one of the aspects of nature in the baroque work. Through our analyzes we try to trace the being and the existence of baroque man through the manifestations of one of their components in the work of the latter. The element of water which is this component and it represents one of the aspects of nature. The problematic in our work is composed of a component that deals with the value of the element of water in the baroque work. The second part aims to prove that the 7 examination of the imaginary represents a tool that helps to identify the reliefs of a baroque text and a text with a similar structure with the latter, that is to say an incoherent structure and complex. Our research proposes a reading for the imaginary of the material in the literary text. Our study would like to demonstrate that distant and interactive examination of human acts and his works serves to identify their explanations; and that the examination of the imaginary of a work which represents an act of the imaginary of man serves to identify its implicit and the reasons for its creation, and the psychology that dominated the circumstances of its production.

Esta pesquisa de doutoramento em Educação na Universidade de São Paulo (USP)/ Brasil teve financiamento CAPES, 2011/2012/2013 e FAPESP 2013/2014/2015. Trata-se de uma investigação acerca do trabalho sobre si (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY, 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI,1997; BROOK, 1997, 2000) na formação inicial de educadores por meio da dramatização de contos filosóficos (CARRIÈRE, 2004, 2008) com o mitema (DURAND, 1988) iniciático (ELIADE, 2004, 2010; GUSDORF, 2003). A pesquisadora teve a oportunidade de pôr em prática suas propostas por meio da condução de estágios no núcleo de dramatização de contos do Lab_Arte - laboratório experimental de arte-educação e cultura- FE- USP. Os principais eixos metodológicos da pesquisa foram:1) a parte empírica da pesquisa: dramatização de contos filosóficos com mitema iniciático junto aos educadores em formação inicial; 2) o diálogo entre a parte empírica e seus registros com o referencial teórico hermenêutico-fenomenológico (RICOEUR, 1988, 2006, 2013) da mitohermenêutica (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). A tese se apresenta, respectivamente, com dois níveis narrativos: um primeiro nível com as experiências e um segundo nível com as leituras decorrentes do trabalho de investigação, ambos entrecruzados pelos contos filosóficos de forma metalinguística. Acompanha ainda um vídeo-poesia encartado em DVD com registro audiovisual da experiência. / This doctoral research in Education at the University of São Paulo (USP) / Brazil had CAPES funding, 2011/2012/2013 and FAPESP 2013/2014/2015. This is a research about the work on yoursef (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI, 1997; BROOK, 1997 2000) in the initial training of educators by means of the dramatization of philosophical tales (CARRIÈRE, 2004, 2008) with the initiatic (ELIADE, 2004, 2010; GUSDORF, 2003) mytheme (DURAND, 1988). The researcher had the opportunity to put in place its proposals by the means the leading of the internships at the core of dramatization of tales at the Lab_Arte- experimental laboratory of art education and culture- FE- USP. The main methodological axes of the research were: 1) the empirical part of the research: dramatization of philosophical tales with initiatic mytheme together educators in initial training; 2) the dialogue between the empirical part and their records with the theoretical framework of the hermeneutic-phenomenological (RICOEUR, 1988, 2006, 2013) of mythe-hermeneutic (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). The thesis is presented, respectively, with two narrative levels: the first level with the experiences and a second level with readings arising from the research work, both of crisscrossed by philosophical tales of metalinguistic form. Still attached a video-poetry in DVD with audiovisual record of experience.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2018-07-03T19:07:00Z No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-04T12:31:14Z (GMT) No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-04T12:31:15Z (GMT). No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-06 / Outro / The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience. / O presente trabalho tem o objetivo discutir aspectos da pesquisa artística preconizada por Marcel Cobussen (COBUSSEN, 2007), pertinentes à criação artística musical e à performance à clarineta, especialmente no que se refere à relação entre a clarineta e o clarinetista. Pretendemos aqui discutir tal relação para além do enquadramento moderno tradicional da relação sujeito/objeto, inserida num contexto poético de investigação. Entendemos ser importante lançar um olhar crítico sobre a questão da produção do conhecimento artístico dentro da academia, além de refletir sobre a questão da verdade advinda desde a dimensão poética. Para tanto, compartilhamos do estatuto ontológico Heideggeriano como superação da exclusividade das relações de mundo e suas consequências no que diz respeito aos limites impostos pela ciência na produção de conhecimento. Tal limitação consolida-se por meio da dissociação no homem de terra e mundo; corpo e alma; inteligibilidade e sensibilidade, em relação ao trato artístico. Mais que um limite científico, esta dissociação ratifica a lida intra-mundana e teleológica do homem ocidental desde a perspectiva da concepção moderna cartesiana. A partir da perspectiva artística, poética – criativa –, investigamos o acontecer da performance do clarinetista. No entanto, não o fazemos considerando a relação que aí ocorre como fenômeno isolado e fechado, tampouco a partir do pré-conceito da crítica estética ou como resultado de aná-lise predeterminada. Numa abordagem poética, a arte reivindica sua manifestação imediata e singular, não por partes ou por representações. Tais representações só estabelecem relação com a obra por mediação racional, como na teoria do conhecimento. Construímos nossa investigação a partir das relações dispostas na interpretação desde o imediato dos sentidos (FOGEL, 2007), con-juntura de relações além, ou aquém, da objetividade cartesiana. O sentido da produção poética é o des-velamento da obra – Alétheia. A partir desta perspectiva, foram produzidos dois recitais com obras de compositores brasileiros, nos quais a interpretação do clarinetista emerge como manifestação sensível e coesa à obra, instaurando um sentido próprio, ou seja, a interpretação como fator inerente à obra de arte. Neste sentido, a verdade da obra é o processo de manifestação de um sentido próprio em sua realização. Afinal, a obra só é com a interpretação, esta faz parte do ser da obra. O des-velamento da obra, segundo Heidegger (HEIDEGGER, 2010), se manifesta na abertura de cada elemento envolvido no processo: obra, arte e artista. Esta abertura bem como as relações por ela dispostas empreenderam no caminhar desta investigação resultados impregnados na própria interpretação. Sob a relação tripartite na obra de arte apontada por Heidegger, percebemos que o artista experimenta uma série de relações ainda pouco discutidas, pois em geral há um favorecimento de uma compreensão técnica e analítica da performance e pouco se fala da ou pensa a experiência artística.

A presente investigação aborda temas relacionados ao grupo Fluxus no acervo do MAC-USP. Fluxus foi um coletivo artístico que atuou nos limites da arte durante as décadas de 1960 e 1970, questionando valores instituídos pelos sistemas oficiais de produção, circulação e exibição de objetos artísticos. Tendo como referência as poéticas Fluxus, as importantes realizações que constituem a sua história, dados e fatos que situam as atividades de seus integrantes na história do surgimento das novas linguagens artísticas da segunda metade do séc. XX, realizamos um amplo levantamento sucedido de documentação e análise crítica de algumas dentre as 116 obras selecionadas no acervo do MAC-USP de autoria de artistas Fluxus. / The present study deals with themes related to the Fluxus group in the MAC-USP collection. Fluxus was an artistic group that worked in the boundaries of art during the Sixties and Seventies, having questioned the values established by the official systems of art production, circulation and exhibition. Regarding Fluxus poetics, the important accomplishments that form its history, data and facts which place the activities of its artists in the history of new languages outbreak during the second part of XX century, we carry out a wide survey followed by registry and critical analyze in some of the 116 works of Fluxus artists which were selected from the MAC-USP collection.

A literatura para a infância trabalha com a imaginação, mas nem sempre com a fantasia, entendida como operar criativo sobre esta. Partindo de tal pressuposição, a tese desenvolve um estudo sobre a literatura contemporânea representada pelos livros ilustrados e procura fundamentar parâmetros para uma leitura da fantasia na produção desses livros, a partir da teoria literária e do design. Para isso investiga também a noção de gramática sugerida pelo escritor italiano Gianni Rodari. Para estabelecer os contornos do conceito de fantasia -- encontrado inicialmente em Bruno Munari (\"Fantasia\", 1977) e Gianni Rodari (\"Gramática da Fantasia\", 1973) -- indaga quais definições em torno da noção emergem da filosofia, da expressão artística, da teoria literária e da tradição narrativa. Com base nos princípios e propostas dos dois autores-inventores, Munari e Rodari, que originaram o interesse pelo tema, o estudo esforçase em configurar um quadro de referências teóricas e analíticas que possibilite definir o objeto em relação à literatura e ao design. Procura, na história do conhecimento e da arte, os marcos que ajudam a identificar os aspectos de estética e linguagem que interessam aos propósitos de criatividade da fantasia e investiga, na teoria literária, os componentes dessa criatividade na construção narrativa. Em seguida, assumindo a noção de projeto, própria do design, como ponto de ligação entre definições de poética identificadas na literatura e o planejamento gráfico, propõe a noção de poética visual como estratégia narrativa dos livros ilustrados e procura estabelecer relações entre projeto e gramática a partir da teoria do design e de estudos sobre a linguagem dos livros ilustrados. Em termos metodológicos, partindo de indagações surgidas anteriormente à sua proposta, da experiência de projeto com livros ilustrados e de uma primeira sistematização de dados, este estudo qualitativo, modalidade de inquérito filosófico e caráter observacional, baseou-se em revisão bibliográfica, pesquisa de campo e dados colhidos a partir de entrevistas semiestruturadas que serviram para ajudar a compreender o estado da arte da literatura contemporânea para a infância. Partindo do pressuposto de que a chave de leitura representada pela fantasia permite observar questões relativas a criação e linguagem, inerentes à expressão (visual) narrativa do gênero, o estudo propõe quatro categorias de análise -- experimentação, transgressão, humor/medo e absurdo -- para uma leitura da fantasia em corpo de obras selecionado da produção contemporânea ocidental, verificando a correspondência com as hipóteses de trabalho do estudo acerca da noção de fantasia e de gramática. Finalmente, os aspectos identificados com base no desenvolvimento analítico indicam como, a partir de determinadas definições, a fantasia pode contribuir: 1) para uma leitura da originalidade narrativa dos livros ilustrados e 2) para servir de instrumento de investigação da criatividade; com isso, confirmando o vigor da proposta munari-rodariana. / Literature for children does work with imagination but less frequently with fantasy, the latter being regarded as a creative intervention on the former. Starting from this premise, the thesis develops a study on contemporary literature as represented by picturebooks and aims at establishing a few parameters for a depiction of fantasy in the production of these books, based on literary theory and design. To this aim, the notion of grammar originally put forward by the Italian writer Gianni Rodari is analysed. In order to establishing the boundaries of the fantasy concept - originally to be found in Bruno Munari (\"Fantasia\", 1977) and in Gianni Rodari (\"Grammatica della Fantasia\", 1973) - the definitions of the concept are examined which emerge from philosophy, artistic expression, literary theory as well as from the narrative tradition. Based on the principles and proposals developed by the two just mentioned authors-inventors, Munari and Rodari, which provoked the original interest in the field, the study tries to build a framework of theoretical and analytical references that might render it possible to define the subject-matter of fantasy in relation to both literature and design. The elements are then searched, through the history of knowledge and the history of art, that may help to single out which aspects of esthetics and language are susceptible of involving the creative objectives of fantasy, and the components of this creative activity in narrative constructions are examined within literary theory. Following this, the design notion of \'project\' is taken as the connecting link between the different definitions of poetics singled out in graphic planning and in the literature, with a view to putting forward a notion of visual poetics as a narrative strategy for picturebooks and relationships are established between project and grammar -- relationships based on design theory as well as on existing studies around a language of picturebooks. From the methodological point of view, the study -- its philosophical approach and observatory character -- originated from previous inquiries; it was then developed through a bibliographical survey, field research and data collected from semi-structured interviews that helped to figure out the state of the art in contemporary literature for infancy. Starting from the premise that, within this type of narrative-visual expression, the interpretative key represented by fantasy allows one to tackle questions concerning both creation and language, the study goes on suggesting four analytical categories - experimentation, transgression, humour/fear, absurdity - for approaching and understanding fantasy in contemporary selected works of Western authors. Finally, the argument is put forward, on the basis of the elements outlined throughout the proposed analysis, that fantasy may contribute 1) to a deciphering of the narrative originality of picturebooks and 2) to providing an instrument for analyzing creativity, thus confirming the robustness of the Munari-Rodarian approach.

This study investigates the path of Rhetoric and Poetic teaching at Atheneu Sergipense School from 1874 through 1891, respectively, from its very beginning until its official extinction. In order to deal with the main discursive and literary teaching subjects of Sergipe high school of the 19th century, it is adopted documental research based on theoretical contribution of Cultural History and History of School Disciplines. The Regulations of Public Instruction, the minutes of Atheneu Sergipense Congregation, local newspapers, textbooks, syllabus and compendia were the main sources analyzed throughout this research. This dissertation is divided into three chapters: the first one, entitled Humanist High School teaching and literary education analyzes the teaching of humanities, their objectives, components and the place attributed to Rhetoric and Poetics into this pedagogical milieu. The second chapter called Aspects which conducted the teaching of Rhetoric and Poetics in Atheneu Sergipense presents the syllabus and practices used to teach this subject, the topics required to entrance examinations and the link between the Juridical Career and the Rhetoric studies. The third chapter focuses the manuals chosen and their adequacies to the teaching of Rhetoric and Poetics. The results show that the classical instruction, with emphasis on discourse and erudition was used as a strategy of distinction into the cultural milieu by Sergipe‟s youth. / Este trabalho aborda a trajetória do ensino de Retórica e Poética, no Atheneu Sergipense, no período compreendido entre 1874 e 1891, respectivamente, do início das atividades da cadeira até a sua extinção oficial. No intuito de abordar os principais aspectos relacionados ao ensino dos conteúdos discursivo e literário, na principal instituição de ensino secundário sergipano do século XIX, utilizou-se a pesquisa documental, com base nas contribuições teóricas da História Cultural e da História das Disciplinas Escolares. Os Regulamentos da Instrução Pública, as Atas da Congregação do Atheneu Sergipense, os jornais locais, as apostilas, os programas de ensino e os compêndios foram as principais fontes analisadas no desenvolvimento desta pesquisa. O estudo é composto por três capítulos. O primeiro, intitulado O Ensino Secundário Humanista e a Educação Literária , analisa o ensino de humanidades, seus objetivos, seus componentes e o lugar atribuído à Retórica e à Poética nesse sistema pedagógico. O segundo capítulo, denominado Fios que teceram o ensino de Retórica e Poética no Atheneu Sergipense , apresenta conteúdos e práticas utilizados para o ensino da cadeira, os pontos requeridos para os Exames de Preparatórios e a vinculação entre a carreira jurídica e os estudos de Retórica. Os manuais utilizados para o ensino de Retórica e Poética no Atheneu Sergipense: ferramentas da formação erudita é o título do terceiro capítulo, que enfoca os manuais adotados e a sua adequação às finalidades do ensino de Retórica e Poética. Os resultados da investigação levaram à percepção de que a formação clássica, com ênfase no discurso e na erudição, foi utilizada como estratégia de distinção no campo cultural por jovens sergipanos.

Orientador: Antonio Alcir Bernárdez Pécora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Línguagem / Made available in DSpace on 2018-08-16T06:49:37Z (GMT). No. of bitstreams: 1 Kalil_SergioAugusto_M.pdf: 1701059 bytes, checksum: 63018b31c79c4610cd4605f55b523024 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa tem como objetivo fazer o levantamento dos juízos críticos sobre o poema À Ilha da Maré, analisando a situação histórica em que se instituem. As concepções retórico-poéticas e a política nacionalista determinante para a formação dos letrados do século XIX são postas em evidência como fundamento de interpretações que simultaneamente denigrem a agudeza do poema e o entende como proto-nacionalista. A conseqüente permanência desses comentários sobre o poema realizados nos séculos XX e XXI é ainda demonstrada. As leituras moldadas pelas preceptivas seiscentistas que apresentam o poema como resultado da concepção de poesia vigente à época da enunciação é também objeto deste estudo. Essas leituras formatam a interpretação que observa o poema como objeto político e representante da arte mimética que determinava a composição no princípio século XVIII / Abstract: The present study aims at developing critical reasoning on the poem À Ilha da Maré by analyzing the historical context in which it is situated. The rhetorical-poetical concepts and the determined national policy to the formation of the nineteenth century scholars are put into evidence as the foundation of the interpretations simultaneously denigrates the sharpness of the poem and sees it as proto-nationalist. The consequent endurance of this sort of remarks about the poem, made between the twentieth and the twenty-first centuries, is still demonstrated. This research also focuses on the readings shaped by the seventeenth century preceptives which introduce the poem as a result of the concept of poetry at the time of its enunciation. These readings form the basis of na interpretation that observes the poem as a political object and a representative of the mimetic art that settled the composition in the beginning of the eighteenth century / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

This dissertation aims to investigate the relations between music and literature in songs that make the work of the pernambucano group Cordel do Fogo Encantado in order to understand the meanings of these interartistics compositions and how they reinvent the crystallized traditions about the image of the Brazilian backland. Therefore, we chose a corpus consisting of seven songs by Cordel do Fogo Encantado (Profecia, Profecia Final, Chover, A Matadeira, Pedra e Bala,Vou saquear a tua feira e Morte e Vida Stanley), chosen not only for their intersection between literature and music, since the whole work of this group has such intersection, but for their expression of the Brazilian backland, the place of origin of the group. Several implications of this approach appeared and to answer them we followed the pioneering work of Steven Paul Scher, who under the name Melopoetic (melos = singing + poetic) includes studies of musical-literary comparativism, seeking connections between the arts. Along the ideas of this author, the notion of Cultural Melopoetic present in the works of Solange Ribeiro de Oliveira, also served as basis. Furthermore, we consider appropriate the dialogue between melopoetic and the concept of oral poetry developed by medievalist Paul Zumthor, comprising the study of orality not only in literature, but in different manifestations in which the voice is the driving force, as well as his idea of performance coupled with the work of Ruth Finnegan under the same topic. The work of Cordel do Fogo Encantado, uniting the afro indigenous music in the backland of Moxotó to the sound of violas and rhythms of popular folklore was increased of literature to portray the backland where tradition and modernity are intertwined, creating a peculiar work. The analytical process sought to demonstrate how the presence of literature and music manifests itself in the songs worked and how this connection is responsible for transcreate a hybrid backland that insists on reinventing itself / Esta dissertação se propôs a investigar as relações entre música e literatura nas canções que compõem a obra do grupo pernambucano Cordel do Fogo Encantado de forma a compreender os sentidos destas composições interartísticas e como elas reinventam as tradições cristalizadas sobre a imagem do sertão. Para tanto elegemos um corpus composto por sete canções do Cordel do Fogo Encantado (Profecia, Chover, Profecia Final, A Matadeira, Pedra e Bala,Vou saquear a tua feira e Morte e Vida Stanley), escolhidas não apenas por sua intersecção entre literatura e música, visto que toda a obra do grupo apresenta tal relação, mas sim por sua expressão do sertão, lugar de origem do grupo. Várias implicações surgiram desta abordagem e para respondê-las nos valemos do trabalho pioneiro de Steven Paul Scher, que sob a denominação de Melopoética (melos = canto + poética) abarca os estudos de comparativismo musical-literário, buscando as conexões entre as artes. Junto às ideias deste autor, a noção de Melopoética Cultural presente nas obras de Solange Ribeiro de Oliveira, também nos serviu de base. Além disso, consideramos pertinente o diálogo entre a melopoética e o conceito de poesia oral desenvolvido pelo medievalista Paul Zumthor que compreende o estudo da oralidade não apenas na literatura, mas nas diversas manifestações em que a voz é a força motriz, bem como a sua ideia de performance aliada aos trabalhos de Ruth Finnegan sobre o mesmo tema. A obra do Cordel do Fogo Encantado, unindo a música afro-indígena do sertão do Moxotó à cantoria de viola e aos ritmos do folclore popular foi acrescida da literatura para retratar um sertão em que tradição e modernidade estão imbricadas, criando uma obra peculiar. O processo analítico por nós utilizado buscou demonstrar como se manifesta nas canções trabalhadas a presença da literatura e da música e como esta conexão é responsável pela transcriação de um sertão híbrido que teima em se reinventar