The authors and translators Erich Arendt and Hans Magnus Enzensberger are two key figures in German literature after 1945, known especially for their appropriation of foreign literatures. They both contributed extensively to the reception of Modern Latin American and Spanish Poetry in East and West Germany by translating poets such as Pablo Neruda, César Vallejo and Rafael Alberti. This is the first study to explore the asymmetrically intertwined literary conditions of the two author-translator figures with regard to the ways in which engaging with a foreign text opens up a perspective on the author-translator’s own poetology.

Esta tesina tiene como propósito analizar de qué manera el cuerpo es abordado en cuatropoemas de Gabriela Mistral y cuatro poemas de Pablo Neruda. El objetivo del estudio escomparar la función del cuerpo en los dos poetas. Nuestra hipótesis es que las menciones alcuerpo femenino son más recurrentes que las menciones al cuerpo masculino y que existendiferencias en cuanto a su función de objeto o sujeto dentro de los poemas. Un segundoobjetivo es dilucidar si estas diferencias se pueden conectar al género del escritor. Vamos arelacionar nuestro análisis con el concepto de “la otredad” que encontramos en Simone deBeauvoir.Como resultado, el corpus seleccionado ha mostrado que las menciones al cuerpofemenino son más recurrentes que las del cuerpo masculino. Se manifiesta más como sujetoen Mistral que en Neruda. El cuerpo del hombre es representado tanto como sujeto y objetoen Mistral, pero solamente como sujeto en Neruda. Encontramos una mayor presencia de lamujer como “lo Otro” en Neruda, sin embargo, existen también ejemplos de otredad enMistral. También hemos encontrado ejemplos de la mujer como sujeto en Neruda. Enconclusión, no parece posible comprobar que estas diferencias de trato se deban al género delescritor.

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Face aux grands drames historiques du 20ème siècle, Louis Aragon (1897-1982) et Pablo Neruda (1904-1973), deux poètes communistes, amis dans la vie, développent à travers leur œuvre une conception de la poésie et de l’art en général comme une conquête, qu’ils nomment « chant ». Bien qu’il renvoie au lien séculaire entre musique et poésie, le « chant », que la thèse prend pour objet, n’est ni réductible ni à la musique ni au texte. Pour eux, le chant est le symptôme de l’unité fondamentale de l’art et de la vie et peut constituer une expression valant dans n’importe quelle sphère de l’activité artistique. Cette étude défend l’hypothèse selon laquelle le chant est d’abord une énergie qui non seulement fonde le texte littéraire, mais irrigue également les autres arts, et notamment les arts plastiques. La thèse propose ainsi de réinterroger ce que l’on appelle « chant » à travers deux œuvres originales qui cherchent à redessiner des communautés politiques et esthétiques, à l’échelle nationale et internationale. En saisissant d’abord leur œuvre par le dehors, l’étude met en lumière les étapes de la fabrique du chant à partir de deux manières de relier les espaces poétiques et politiques : celui de l’histoire littéraire et artistique et celui de la traduction. Ensuite, la thèse se fonde sur une approche poétique pour examiner de l’intérieur le chant sous l’angle de l’énergie. Si le chant semble indéfinissable, c’est aussi parce qu’il n’est pas une forme ni même un genre à proprement parler, mais l’expérience sensible d’une présence partagée. Démesurée, l’énergie du chant défie les cadres de la représentation pour s’afficher comme une expression. C’est sous ce dernier prisme que l’étude inscrit le chant dans un horizon qui outrepasse la poésie et le confronte à des problématiques visuelles en convoquant les écrits sur l’art de l’un et de l’autre, de rares livres illustrés par les peintres muralistes (Siqueiros, Rivera, Venturelli et Léger) et en examinant de près les extensions du chant (le livre, le mur et la tapisserie), afin d’identifier la communauté d’enjeux entre ce que nos poètes appellent « chant » et des réalisations plastiques majeures du 20ème siècle. / Facing the great historical dramas of the 20th century, Communist poets and friends Louis Aragon (1897-1982) and Pablo Neruda (1904-1973) showcased in their respective bodies of work a certain conception of poetry and of art as a conquest, which they named “canto” (in French “chant”). Although the term denotes the primeval relation between music and poetry, this dissertation postulates that the canto is not to be reduced to the sole musical or textual contexts. What both poets term “canto” is rather akin to the basic unity of art and life, and finds itself applicable to all artistic fields. In this sense, this dissertation first and foremost defends a vision of the canto as energy, which not only rests at the basis of textual creation but which also informs all other means of artistic expression, especially visual and plastic arts. The aim of this study is therefore to question what the term “canto” purportedly signifies in critical context. It does so by inspecting how the two oeuvres under scrutiny are relentlessly committed to shaping new political and esthetical communities, both nationally and internationally. Firstly approaching Aragon and Neruda’s works from an exterior viewpoint, the dissertation sheds light on the various elements that are generative of the canto by soliciting two areas which fundamentally connect poetical and political spaces: that of literary history and that of translation. The study then proceeds to examine the poetical works themselves through the notion of energy. If the defining contours of the canto remain elusive, it is precisely because it cannot be characterized as a form or as a genre in itself, but rather stands as the sentient experience of a shared presence. The overflowing energy emanating from the canto thereby begs the question of representation, whose frames it constantly defies in order to offer itself rather as an expression. This last notion serves as the final prism through which the canto is considered in this study, as something essentially exceeding the mere art of poetry and which interrogates the modalities of the visual. This concluding demonstration relies on Aragon and Neruda’s critical essays on art as well as rare books illustrated by muralist painters (Siqueiros, Rivera, Venturelli and Léger); it carefully explores the plastic prolongations of the canto (in book, wall or tapestry form) in order to further identify the common goals and implications of this literary entity, along with those of some major plastic arts achievements of the 20th century.

Made available in DSpace on 2016-04-28T14:16:11Z (GMT). No. of bitstreams: 1 Ilza Mendes da Cruz.pdf: 1515835 bytes, checksum: d4e1452354a0f61d6b9f5ad60456dc7c (MD5) Previous issue date: 2010-11-29 / Secretaria da Educação do Estado de São Paulo / Pablo Neruda, in addition to writing poetry and used to participate of the political life of Chile, used to collect the most different objects collected in many different ways and in different places where he travelled. Many of the objects of his collection were given by friends, others were found in the beach, others were bought. Neruda, by his poetry, managed to materialize the image of what was seeing by observing his objects, in special some shells that were part of his collection of snail (as he said). In this dissertation, we present some aspects related to the confluence between poetry and science. To do so, we compare the poetic description of the shells, with description in scientific form. The poetic language differs in relation to the use of words but is no less true / Pablo Neruda, além de escrever poesia e de participar da vida política do Chile, costumava colecionar os mais variados objetos, coletados nas mais diversas formas, em vários lugares por onde viajou, enquanto representante diplomático daquele país. Muitos dos objetos de sua coleção foram recebidos de amigos, outros foram encontrados na praia e outros, ainda, foram comprados. Neruda, através da poesia, esforçou-se em materializar as imagens que estava captando ao observar os seus objetos, em especial algumas conchas que faziam parte de sua coleção de caracóis (como ele mesmo identifica). Nesta dissertação, procuramos apresentar alguns aspectos relacionados à confluência entre poesia e ciência. Para tanto, buscamos comparar a descrição poética das conchas, com descrição na forma científica. A linguagem poética difere em relação à utilização das palavras porém não é menos verdadeira

This dissertation investigates the representation of the image of the stone in poems by four modern Latin-American poets. To do this, I selected one key poem by Carlos Drummond de Andrade, João Cabral de Melo Neto, Pablo Neruda, and Octavio Paz. Based on pertinent principles of literary criticism and analysis, I perform close readings of each of these texts. Despite the use of the same image, the semantic results in each poem present significant variation. That is my starting point for discussions of related historical and theoretical issues such as critical reception, value, ("No meio do caminho" by Drummond), the representation of the lyrical speaker, imagery, metapoetry, ("A educação pela pedra" by João Cabral), the role of the history in poetry, the manipulation of literary sources, (Poema XVII by Pablo Neruda), the concept of "logos" and the relationship between poetry and myth ("Como las piedras del Principio" by Octavio Paz). The basic goal of this dissertation is to put into practice critical and theoretical approaches that optimize the reading of poetry. / text