Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-16T17:09:59Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Renan Cornette - 2008.pdf: 959458 bytes, checksum: 4c22d00ea47142cb72ba04731a6f46b5 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-16T17:35:14Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Renan Cornette - 2008.pdf: 959458 bytes, checksum: 4c22d00ea47142cb72ba04731a6f46b5 (MD5) / Made available in DSpace on 2015-01-16T17:35:14Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Renan Cornette - 2008.pdf: 959458 bytes, checksum: 4c22d00ea47142cb72ba04731a6f46b5 (MD5) Previous issue date: 2008-08-16 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The present work considers the relation between the poet José Paulo Paes and the poetic tradition. Its purpose is examining how the poet retakes and reinvents different poetic traditions. Among the adopted traditions by the poet, is the Greek one with its forms: epigram, epitaph and epitalamium. José Paulo Paes recovers these fixed forms but, by means of humor and irony, he adds new hues to them. Moreover, he remakes ancient proverbs in a parodic process of getting back of the original model and unconstruction of it. The theory that holds this work is that one of Eliot, in “Tradition and the individual talent”, that says the new poet finds his best and most original moments when he talks to the tradition. So we analyze too the relation among Paes and some of his forerunners, as Drummond, Bandeira, Augusto de Campos and the unknowed baiano modernist Sosígenes Costa. Although the poet initialy introduces himself as learner, by insisting in a refined irony, he is capable to reach his personal diction, expressing thus an own voice. / O presente trabalho considera a relação do poeta José Paulo Paes com a tradição poética. Seu propósito é examinar o modo como o poeta retoma e reinventa diferentes tradições poéticas. Entre as tradições adotadas pelo poeta, está a grega com suas fórmulas: o epigrama, o epitáfio e o epitalâmio. José Paulo Paes recupera essas formas fixas, mas, por meio do humor e da ironia, acrescenta novos matizes a elas. Além disso, reelabora antigos provérbios, num processo paródico de retomada e desconstrução do modelo original. A teoria que fundamenta este trabalho é a de Eliot em “A tradição e o talento individual”, que afirma que o poeta novo encontra seus momentos melhores e mais originais quando fala com a tradição. Assim, analisamos também a relação de Paes com alguns dos seus precursores, como Drummond, Bandeira, Augusto de Campos e o desconhecido modernista baiano Sosígenes Costa. Embora o poeta se apresente inicialmente como aprendiz, ao insistir numa ironia refinada, consegue alcançar sua dicção pessoal, exprimindo, assim, uma voz própria.

This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.