As operações da memória, a introspecção e a auto-representação são alguns tópicos da chamada escrita intimista, que vem desempenhando papel importante na poesia portuguesa, desde meados do século XIX. A partir de um grupo de poetas precursores, entre os quais se incluem Cesário Verde (1855/1886) e António Nobre (1867/1900), o estilo da poesia intimista continuou nos novecentos através de nomes como os de Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935), Mário de Sá Carneiro (1890/1926). Sophia de Mello Breyner Andresen (Porto, 1919/ Lisboa, 2004), foi uma das três mais importantes vozes poéticas portuguesas da segunda metade do século XX, ao lado de Jorge de Sena (1919/1978) e de Eugénio de Andrade (1923/2005). Ela sempre apresentou recorrentes, em seus 14 livros de poesia, (o primeiro, Poesia I, de 1944), muitos dos temas caros ao intimismo: o choque entre o mundo exterior e o eu poético, a rememoração como mergulho interior, a solidão, o sofrimento provocado quando o sujeito recolhe-se dentro de si mesmo. Além disso, ela privilegia, num estilo muito particular, determinados espaços ligados à intimidade, como a casa e, em especial, o quarto. Nossa dissertação divide-se em três capítulos - O Quarto e o Silêncio, O Quarto, a Noite e o Vazio, O Quarto Como Prisão - que enfocam o aspecto intimista da obra poética de Sophia. A discussão é centrada no sujeito poético, analisando sua posição frente ao mundo e à vida, no contexto fragmentado do pós II Guerra. Sempre na perspectiva humana de nossa finitude, frente ao horizonte da eternidade. / The so-called Intimate Poetry School flourished in Portugal by the middle of the 19th Century, throught a group of very particular poets, like Cesário Verde (1855/1886) or António Nobre (1867/1900). Due to other outstanding poets, Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935) and Mário de Sá Carneiro (1890/1926), among others, intimate style continued on its way through the 20th century. Sophia de Mello Breyner Andresen (1919-2004) is recognized as one of the three most important Portuguese poets of 20th Century\'s last half, the other two being Jorge de Sena (1919/1978) and Eugénio de Andrade (1923/2005). She wrote 14 poetry books since her first one, Poesia I, published in 1944. In most of her poems, Sophia de Mello Breyner Andresen dealed with some of the innermost aspects of the poetic self, such as solitude, the remembrance of past experiences, or the aggressiveness from the outside world. She described, in several poems, the sleepingroom, this space that is a typical intimate retreat for the self. Her poetry is always related to the human condition, in the sense that her poems encompass the joys, the sufferings and all the emotions related to our state of being human, that is, being finite and mortal, when compared to a horizon of eternity. Also, she achieved a very intimate way of describing the self\'s fortunate past experiences, as related to his deceptive present life. Our Master\'s research, The room used as a symbol of intimate questions, in Sophia de Mello Breyner Andresen\'s poetry, deals mainly with three Intimate Poetry aspects that the room may present in her poems: The Room and the Silence; The Room, the Night and the Void; The Room as a Prison.

As operações da memória, a introspecção e a auto-representação são alguns tópicos da chamada escrita intimista, que vem desempenhando papel importante na poesia portuguesa, desde meados do século XIX. A partir de um grupo de poetas precursores, entre os quais se incluem Cesário Verde (1855/1886) e António Nobre (1867/1900), o estilo da poesia intimista continuou nos novecentos através de nomes como os de Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935), Mário de Sá Carneiro (1890/1926). Sophia de Mello Breyner Andresen (Porto, 1919/ Lisboa, 2004), foi uma das três mais importantes vozes poéticas portuguesas da segunda metade do século XX, ao lado de Jorge de Sena (1919/1978) e de Eugénio de Andrade (1923/2005). Ela sempre apresentou recorrentes, em seus 14 livros de poesia, (o primeiro, Poesia I, de 1944), muitos dos temas caros ao intimismo: o choque entre o mundo exterior e o eu poético, a rememoração como mergulho interior, a solidão, o sofrimento provocado quando o sujeito recolhe-se dentro de si mesmo. Além disso, ela privilegia, num estilo muito particular, determinados espaços ligados à intimidade, como a casa e, em especial, o quarto. Nossa dissertação divide-se em três capítulos - O Quarto e o Silêncio, O Quarto, a Noite e o Vazio, O Quarto Como Prisão - que enfocam o aspecto intimista da obra poética de Sophia. A discussão é centrada no sujeito poético, analisando sua posição frente ao mundo e à vida, no contexto fragmentado do pós II Guerra. Sempre na perspectiva humana de nossa finitude, frente ao horizonte da eternidade. / The so-called Intimate Poetry School flourished in Portugal by the middle of the 19th Century, throught a group of very particular poets, like Cesário Verde (1855/1886) or António Nobre (1867/1900). Due to other outstanding poets, Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935) and Mário de Sá Carneiro (1890/1926), among others, intimate style continued on its way through the 20th century. Sophia de Mello Breyner Andresen (1919-2004) is recognized as one of the three most important Portuguese poets of 20th Century\'s last half, the other two being Jorge de Sena (1919/1978) and Eugénio de Andrade (1923/2005). She wrote 14 poetry books since her first one, Poesia I, published in 1944. In most of her poems, Sophia de Mello Breyner Andresen dealed with some of the innermost aspects of the poetic self, such as solitude, the remembrance of past experiences, or the aggressiveness from the outside world. She described, in several poems, the sleepingroom, this space that is a typical intimate retreat for the self. Her poetry is always related to the human condition, in the sense that her poems encompass the joys, the sufferings and all the emotions related to our state of being human, that is, being finite and mortal, when compared to a horizon of eternity. Also, she achieved a very intimate way of describing the self\'s fortunate past experiences, as related to his deceptive present life. Our Master\'s research, The room used as a symbol of intimate questions, in Sophia de Mello Breyner Andresen\'s poetry, deals mainly with three Intimate Poetry aspects that the room may present in her poems: The Room and the Silence; The Room, the Night and the Void; The Room as a Prison.

Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient. / This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.