Thèse (M.Ling.) -- Université du Québec à Chicoutimi, programme extensionné de l'Université Laval, 2003. / Bibliogr.: f. 144-146. Document électronique également accessible en format PDF. CaQCU

Inaug.-diss.--Heidelberg.

Thesis (Ph. D.)--Michigan State University. Dept. of French, Classics and Italian, 2008. / Title from PDF t.p. (viewed on July 24, 2009) Includes bibliographical references (p. 131-135). Also issued in print.

Inaug.-diss.--Heidelberg.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-27Bitstream added on 2014-06-13T19:14:14Z : No. of bitstreams: 1 souza_mm_me_assis_parcial.pdf: 145179 bytes, checksum: aeda05d72b2033760fd74650a2d90e69 (MD5) Bitstreams deleted on 2015-06-03T11:42:45Z: souza_mm_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:11Z : No. of bitstreams: 1 000701553_20150817.pdf: 125570 bytes, checksum: dc1e0bc88134a63c1574e5a336be7553 (MD5) Bitstreams deleted on 2015-08-17T11:07:10Z: 000701553_20150817.pdf,. Added 1 bitstream(s) on 2015-08-17T11:07:54Z : No. of bitstreams: 1 000701553.pdf: 1207267 bytes, checksum: e331a1b195a8fb2d0bf002f3b8efe312 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / L’oeuvre de François Rabelais est caractérisée, surtout, par sa pluralité stylistique, linguistique et générique, qui la rend si moderne et singulière par rapport aux standars littéraires du XVIeme siècle. Son hétérogénéité vient, en grande partie, des multiples voix présentes dans son discours ; en d’autres termes, de son aspect polyphonique et intertextuel. Autre particularité de l’oeuvre rabelaisienne est sa façon particulière de “dire, par le rire, la verité”. Le comique et les joyeuses plaisanteries qui marquent ses écrits ne sont, en fait, que des “masques” qui cachent les critiques et les idéologies de l’auteur. À ce sujet, nous avertit le narrateur Alcofrybas Nasier dejà dans son prologue, quand il nous conseille de ne pas nous satisfaire avec l’apparence extérieure banale de son oeuvre, mais de chercher sa substantifique moëlle, c’est-à-dire, les sujets importants concernant tant la vie sociale, comme la religion et la vie économique. Ansi, c’est aussi à travers les plaisanteries et le comique que Rabelais établit-il des critiques à la religion prédominante à l’époque - le Christianisme – et transmet ses propres idées religieuses. A travers l’ appropriation burlesque des extraits des Écritures Sacrées, l’ écrivain met en question, d’un côté, les pratiques et les dogmes de l’Église et, de l’autre, proclame ses propres idéologies, lesquelles s’ approchent des pensées réformistes et évangélistes en vogue dans ce siècle-là. Par ce travail, on a l’intention d’analyser les intertextes (citations et allusions) des Écritures Sacrées présentes dans Gargantua, en vue de ses fonctions (satirique, parodique ou recherche de l’autorité), afin de comprendre comment est décrite la pensée religieuse dans l’oeuvre étudiée / A obra de François Rabelais caracteriza-se, sobretudo, por sua pluralidade estilística, linguística e genérica, que a torna tão moderna e singular para os padrões literários do século XVI. Sua heterogeneidade advém, em grande parte, das múltiplas vozes presentes em seu discurso, em outras palavras, de seu aspecto polifônico e intertextual. Outra peculiaridade da obra rabelaisiana é o seu jeito especial de “dizer, rindo, a verdade”. A comicidade e as alegres brincadeiras que caracterizam seus escritos são, na verdade, apenas “máscaras” que encobrem as críticas e as ideologias do autor. Sobre isto, já nos adverte o narrador Alcofrybas Nasier em seu prólogo, quando nos aconselha a não nos contentarmos com a aparência exterior banal de sua obra, mas procurar o seu substantifico tutano, ou seja, os assuntos importantes referentes tanto à vida social, quanto à religião e à vida econômica. Assim, é também por meio da brincadeira e da comicidade que Rabelais estabelece críticas à religião predominante em sua época - o Cristianismo – e transmite seus próprios ideais religiosos. Através da apropriação burlesca de trechos das Sagradas Escrituras, o escritor questiona, por um lado, as práticas e dogmas da Igreja e, por outro, apregoa suas próprias ideologias, as quais se assemelham aos pensamentos reformistas e evangelistas em voga neste século. Por meio deste trabalho, pretendemos analisar os intertextos (citações e alusões) das Sagradas Escrituras presentes em Gargantua, considerando suas funções (satírica, paródica ou busca de autoridade), com a finalidade de entender como se delineia o pensamento religioso na obra em questão

This study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soul. / This study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soul.

Ce travail porte sur l'interaction entre la citation et l'érudition dans l'oeuvre de Rabelais à partir d'une approche construite sur l'idée que l'écriture rabelaisienne repose sur un jeu constant avec l'érudition qu'elle mobilise. Dans la première partie, deux sources relevant du genre des miscellanées, utilisées par Rabelais comme des réservoirs à citations, sont analysées de manière systématique : les traités juridiques de son ami fontenaisien André Tiraqueau et les Adages d'Érasme. Après cette analyse génétique, nous nous penchons en deux temps sur la manière dont l'érudition sert et se trouve incarnée par la représentation fictionnelle. D'un côté, l'espace de la bibliothèque est un des lieux majeurs de l'espace fictif ; de l'autre, les personnages forment une communauté d'érudits aux idiomes distincts. Est analysée dans un dernier temps, la question du genre des « romans » rabelaisiens et en particulier des Tiers et Quart Livres. La dette générique envers le genre des miscellanées, du commentaire philologique, est mise en avant. Rabelais a écrit ses Lectiones antiquae sous la forme d'une narration comique. L'erudito ludere fondateur de son écriture a été reçu comme tel, ce que peut démontrer in fine un retour sur l'histoire de la réception de Rabelais du XVIe au XVIIIe siècle / This study focuses on the interaction between quotation and erudition in Rabelais's work. For this purpose, we follow the idea that rabelaisian writing is built on a constant play with the erudition it mobilizes. In the first part, two sources coming within the genre of miscellanies, used by Rabelais as collections of quotations, are analysed : the legal treatises of his close friend, André Tiraqueau, and the erasmian Adagia. After this genetic part, the study explores the ways erudition improves and is represented in the fiction. Firstly, the library is shown as a major place in the fictional world. Secondly, the characters are forming a community of scholars with distinct idioms. Finally, the question of the gender of rabelaisian « novels » is asked, and particularly for the Third and Fourth Books of Pantagruel. Rabelais seems to be inspired by the aesthetics of the miscellanies and of philological commentaries. He wrote his Lectiones antiquae under the form of a comic narration. The erudito ludere, principle of his writing, has been recognized by his readers as a historical study of Rabelais's reception from the sixteenth to the eighteenth century can finally show

A leitura em Francês Língua Estrangeira (FLE) pode ser abordada de diferentes maneiras em função dos objetivos individuais ou institucionais para sua aprendizagem. Esta pesquisa concentra-se num público de leitores bastante específico: alunos de primeiro ano do curso de Letras/Francês da Faculdade de Filosofia, Letras e Ciências Humanas da USP que devem ler literatura francesa no original dispondo de pouco ou nenhum conhecimento dessa língua. Essa é uma situação paradoxal que se coloca para um número considerável de estudantes ao ingressar nesse curso a cada ano e que fez com que se buscasse desenvolver uma abordagem do texto literário que se aproximasse dos processos em jogo no ato da leitura e das verbalizações desses processos por parte deste grupo de leitores. Busca-se, nesta pesquisa, refletir sobre como a aproximação do texto do leitor, ou seja, como a verbalização de seu processo de leitura pode informar sobre as estratégias para ler literatura em sala de aula, considerando a dificuldade implicada no processo em razão do pouco conhecimento em língua francesa. A hipótese concentra-se em perceber a verbalização de uma leitura como um processo metacognitivo de elaboração em que o leitor controla a construção e eventual perda de sentido na leitura, o texto do leitor seria um híbrido entre o relato desse processo e elementos de sua compreensão no ato da leitura. Dispor desses elementos pode vir a permitir com uma abordagem do texto literário em FLE aproxime-se da forma como os textos são apreendidos pelos leitores nesse contexto, potencializando os resultados dessa aprendizagem. / The reading in French Foreign Language (FFL) can be approached in different ways in terms of individual or institutional aims for its learning. This research concentrates in a reader group rather specific: students attending the first year of French Language at Philosophy and Language and Human Sciences Department of the University of São Paulo that must read French literature in the original version, having some or no knowledge of this language. It is a paradoxical situation that is set to a considerable number of students that enroll this course each year and it caused a search for developing a literary text approach that could come close to the processes in the act of reading and of the verbalizations of these processes on the part of this reader group. It is sought, in this research, to reflect about how the approximation of the the readers text, or whether, how the verbalization of his reading process could inform about the strategies to read literature in a classroom, considering the difficulties implied in the process on account of the limited knowledge in French Language. The hypothesis concentrates in perceiving the verbalization of a reading as a metacognitive process of elaboration in which the reader controls the construction and eventual lose of the sense in the reading, the readers text would be a hybrid between the report of this process and the elements of his understanding in the act of reading. Disposing these elements, it can allow that an approach of the literary reading in FFL approximates the form how the texts are learnt by the readers in this context, potentiating the results of this learning.

L’objectif de la thèse est de proposer un point de vue global de l’héritage rabelaisien sur la littérature du XIXe siècle, tant dans la critique littéraire que dans le roman, à travers la représentation du bon vivant mais aussi du repas. Il s’agit aussi de remarquer les références des multiples écrivains quant à des œuvres telles que le Gargantua. Le bon vivant décrit par Rabelais sera le medium principal de notre travail. Le personnage et ses traits spécifiques seront comparés aux adaptations des auteurs consacrés, tels que Balzac, Dumas, Gautier, Flaubert ou encore Zola, mais également d’écrivains aujourd’hui moins connus comme Nodier ou Cladel. On verra comment les écrivains du XIXe siècle font coïncider le texte de référence avec leur temps et leurs styles propres. L’abîme entre les XVIe et XIXe siècles est large et profond, et implique un certain nombre de mutations dans l’adaptation du personnage et de sa nourriture. A fortiori, les choix d’écriture des écrivains sont autant d’indices révélateurs de ce qui frappait, positivement ou négativement, les auteurs rabelaisants dans le style de leur auteur fétiche ; ils montrent aussi des buts particuliers que l’on mettra en lumière. / The thesis’s objective is to propose a global point of view of Rabelais’s legacy on the Nineteenth Century’s French Literature, in the critique as in the fiction, through the representation of the ‘bon vivant’ character and the food. We will study the references between the authors towards Rabelais’s books such as Gargantua. The ‘bon vivant’ (like Gargantua itself) as described by Rabelais is the main tool of my work. The character and its proper characteristics will be compared to its adaptations by some of the French most famous writers from the French Nineteenth Century, like Balzac, Dumas, Gautier, Flaubert or Zola, but also by some less known authors like Nodier or Cladel. We will see how they link the Rabelaisian source to their own time and styles. The chasm between the 16th and the 19th Centuries is large and deep, and implies some mutations in the adaptation of the ‘bon vivant’ and its food. Furthermore, the writers’ choices in the writing are some clues revealing what marked (positively or negatively) the authors who admired Rabelais inside the style of their beloved writer. These choices can also show some particular goals of the writing, that we will try to point out.

Political thinkers of the Renaissance, foremost among them Niccolò Machiavelli and Desiderius Erasmus, authored works commonly referred to as “mirrors of princes.” These writings described how princes should rule, and also often recommended a certain arrangement or relationship between the intellectual class and the political powers. François Rabelais’s five books of Pantagruel also depict and recommend a new relationship between these elements of society. For Rabelais, the tenets of a philosophy that he calls Pantagruelism set the terms between philosophers and rulers. Pantagruelism, defined in Rabelais’s Quart Livre as “gaiety of spirit confected in contempt for fortuitous things,” suggest a measured attitude toward politics. Rabelais’s prince, Pantagruel, accordingly rejects the tendencies of ancient thinkers such as Diogenes the Cynic who viewed politics as futile. Yet Pantagruel also rejects the anti-theoretical disposition of modern thinkers such as Machiavelli who placed too much confidence in politics. I demonstrate how Rabelais warns against the philosophers’ entrance into public service, and how he simultaneously promotes a less selfish philosophy than that of Diogenes. I argue that Pantagruel’s correction of his friend Panurge through the consultations of experts regarding the latter’s marriage problem shows that fortune will always trouble human life and politics. I also argue that Pantagruel’s rule over the kingdom of Utopia exemplifies a Socratic form of rule—reluctant rule—which relies on a trust that necessity (embodied in the Tiers Livre in the Pantagruelion plant) and not fortune (embodied in the Tiers Livre in Panurge’s future wife) governs the world, including the political world.