Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-30Bitstream added on 2014-06-13T19:14:15Z : No. of bitstreams: 1 monteiro_v_me_assis.pdf: 360645 bytes, checksum: 75eb3a58332d525a081d052ea8ff9b71 (MD5) / O presente trabalho se propõe a uma abordagem das recorrentes imagens aquáticas em diversos poemas na obra do poeta português Camilo Pessanha. Para tanto, entendemos, segundo Gastón Bachelard (2002) que toda poética deve receber componentes de essência material, dentre os quais, para a obra de Camilo Pessanha, a água é o mais significativo de tais elementos. As imagens, na obra do poeta, apresentam-se fragmentadas e fugidias e, sendo assim, revela-se, por parte do sujeito poético, além da consciência da efemeridade das coisas, um desejo de fixar na forma estética o instante em que as imagens poéticas são percebidas. Pretendemos investigar, na obra do poeta, de que modo a água, matéria estética fundamental para sua poética, é trabalhada, dentre outros expedientes utilizados, para representar o aspecto fugidio da realidade, para atingir o adensamento da matéria e a permanência, a fixação do instante poético / This paper proposes an approach to recurrent aquatic images in several poems in the work of Portuguese poet Camilo Pessanha. For this, we understand, according Gaston Bachelard (2002) that all components should receive poetic essence of material, among which, for the work of Camilo Pessanha, water is the most significant of such factors. The images in the work of the poet, if present fragmented and fleeting and, therefore, it is revealed by the poetic subject, beyond the consciousness of the transience of things, a desire to fix the aesthetic form the moment when the poetic images are perceived. We will investigate, in the poet's work, how water, a matter crucial to their poetic aesthetics is worked out, among other devices used to represent the fleeting aspect of reality, and to reach the density of matter and remain, setting the poetic moment

Made available in DSpace on 2015-05-14T12:39:39Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 1133714 bytes, checksum: 64c52da1cc28dc4225149ac67981e9f1 (MD5) Previous issue date: 2012-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The chronicle stands as a singular genre, especially for transiting between the fields of literature and journalism. Rubem Braga is considered one of the most representative chronicle writers in Brazilian literature, with a particular condition of being a writer who gained notoriety for only writing literary chronicles. With an extensive chronicle production started in the thirties of the last century, including about fifteen thousand chronicles, over six decades of literary journalism, the capixaba writer has left a respectable legacy of books containing collections of texts that caught popular taste. With an unusual style for the canons of his time, the chronicler Rubem Braga has composed chronicles with a cutting subjective lyricism that has enchanted generations over the years. Among his collections of chronicles, the book A borboleta amarela, object of critical and public recognition, presents texts in which the theme recurrence of the narrative of time category is noticeable, particularly the modulations of the poetic moment and duration. In these texts, we see a nostalgic narrator, restoring ambiance, past people and events, which gives clear primacy to the old days, taking a poignant and painful look raised from the perception of the transience of things and of the world and from the inexorability of the action of time. / A crônica se destaca como um gênero singular, especialmente por transitar entre os campos da literatura e do jornalismo. Rubem Braga é considerado um dos mais representativos cronistas da literatura brasileira, com a particular condição de ser um escritor que ganhou notoriedade escrevendo apenas crônicas literárias. Com vasta produção cronística iniciada na década de trinta do século passado, abrangendo um em torno de quinze mil crônicas, ao longo de seis décadas de jornalismo literário, o escritor capixaba deixou um respeitável legado de livros contendo coletâneas de textos que conquistaram o gosto popular. Com um estilo inusitado para os padrões de seu tempo, o cronista Rubem Braga compôs crônicas com um cortante lirismo subjetivo que tem encantado gerações ao longo dos anos. Dentre suas coletâneas de crônicas, o livro A borboleta amarela, objeto de reconhecimento de crítica e de público, apresenta textos nos quais é perceptível a recorrência temática da categoria narrativa do tempo, particularmente das modulações do instante poético e da duração. Neles, podemos perceber um narrador nostálgico, restaurando ambiências, fatos e pessoas pretéritos, que confere clara primazia aos tempos de outrora, tendo um olhar pungente e doloroso advindo da percepção da transitoriedade das coisas e do mundo e da inexorabilidade da ação do tempo.

Orientador: Odil José de Oliveira Filho / Banca: Ana Maria Domingues de Oliveira / Banca: Ricardo Magalhães Bulhões / Resumo: O presente trabalho se propõe a uma abordagem das recorrentes imagens aquáticas em diversos poemas na obra do poeta português Camilo Pessanha. Para tanto, entendemos, segundo Gastón Bachelard (2002) que toda poética deve receber componentes de essência material, dentre os quais, para a obra de Camilo Pessanha, a água é o mais significativo de tais elementos. As imagens, na obra do poeta, apresentam-se fragmentadas e fugidias e, sendo assim, revela-se, por parte do sujeito poético, além da consciência da efemeridade das coisas, um desejo de fixar na forma estética o instante em que as imagens poéticas são percebidas. Pretendemos investigar, na obra do poeta, de que modo a água, matéria estética fundamental para sua poética, é trabalhada, dentre outros expedientes utilizados, para representar o aspecto fugidio da realidade, para atingir o adensamento da matéria e a permanência, a fixação do instante poético / Abstract: This paper proposes an approach to recurrent aquatic images in several poems in the work of Portuguese poet Camilo Pessanha. For this, we understand, according Gaston Bachelard (2002) that all components should receive poetic essence of material, among which, for the work of Camilo Pessanha, water is the most significant of such factors. The images in the work of the poet, if present fragmented and fleeting and, therefore, it is revealed by the poetic subject, beyond the consciousness of the transience of things, a desire to fix the aesthetic form the moment when the poetic images are perceived. We will investigate, in the poet's work, how water, a matter crucial to their poetic aesthetics is worked out, among other devices used to represent the fleeting aspect of reality, and to reach the density of matter and remain, setting the poetic moment / Mestre

Chez Guillevic, le statut de la rhétorique est paradoxal. Toute l’œuvre est traversée par un impératif des choses et du réel qui s’accompagne d’un vœu de simplicité. Cette poésie, qui se voit rappelée à l’ordre du concret, se méfie d’une rhétorique qui viendrait éclipser la réalité des choses, ou accroître la distance entre ces deux pôles, que sont l’expérience du monde et sa mise en mots. Les poèmes, denses et resserrés sur eux-mêmes, se présentent alors manifestement comme un défi à la rhétorique. Pourtant, nous n’assistons pas à une éviction de la notion, mais plutôt à un ensemble de mutations, qui supposent une subrogation des valeurs la définissant. En effet, si Guillevic passe pour un poète qui se serait spontanément tourné vers le monde et vers les objets, ce rapport au réel, au départ, n’a rien d’euphorique. Il reste à construire car le monde se rétracte. Il faut retrouver une force dans le langage ; une force agissante. Se méfier d’une rhétorique éloquente et ornementale revient alors à inscrire dans le poème une tension qui fait du langage un support solide auquel se raccrocher ; les figures ne sont plus de l’ordre de la figuration mais de celui de la mise en rapport. On assiste donc à des processus de relittéralisation et de défiguration du langage, ce qui fait qu’il n’est plus question d’une rhétorique de surface, mais d’une rhétorique fondamentale, qui passe par un engagement de l’être dans le langage. Et comme il s’agit toujours de chercher à faire l’expérience du monde, plutôt que de s’obstiner à lui trouver un sens, la rhétorique est alors dissociée de ces notions de conceptualité, de représentation et de signification qu’elle a tendance à véhiculer. Enfin, chez Guillevic, se méfier de la rhétorique, c’est aussi remplacer la métaphore par l’ellipse et instaurer dans le poème un creux, ou un entre-deux, qui, sans pour autant annuler ce constat d’une inadéquation fondamentale entre le langage et la réalité, ne se présente pas moins comme le lieu où peut advenir une dimension neuve et originelle du sujet, du langage et du monde. / In the work of Guillevic, the status of rhetoric is paradoxical. All the work is characterised by an imperative of reality. The most important is simplicity. So, this poetry, which is called to reality, constantly distrusts rhetoric : indeed, rhetoric could overshadow the reality of the things and increase the distance between these two poles, that are the experience of the world, and its implementation in word. The poems, dense and tight on themselves, appear clearly as a challenge to rhetoric.However, in the work of Guillevic, the notion of rhetoric is not totally forgotten. On the contrary, we can note some mutations of the notion. The defining values are modified. Indeed, Guillevic is considered as a poet who spontaneously turned himself to the world and to the objects, but, first, this contact with reality is very difficult. This contact needs to be built or to be modified because, in the beginning, the world frightens. It is reluctant to welcome the poet. That is why Guillevic must find a strength in the language in order to build or to appease this relation between the subject and the world. And, paradoxically, distrust big rhetoric and its eloquence enables to do that, because this distrust puts a tension in the poem. First, this tension transforms the language of the poem and makes it as a solid to cling to. Then, the figures of speech no more belong to the order of representation but they belong to this necessity of a better relation between the subject, the language and the world. The poem tends to literality and to ‘disfiguration’. So, it is no more about a superficial rhetoric ; the rhetoric is now fundamental and joins the language and the being. The experience of the world is more important than the meaning, so that we can say that the notion of rhetoric is no longer connected to the concepts of conceptuality, representation and meaning. And we can also note that Guillevic replaces the metaphor by the ellipse : distrust rhetoric opens in the poem an empty place where these three elements that are the language, the poetic subject and the world can revive.