Cette thèse présente une nouvelle édition critique de quatre discours de Libanios : les discours 34 (En réponse aux médisances du pédagogue), 35 (À ceux qui ne prennent pas la parole), 36 (Sur les maléfices), et 43 (Sur la convention), ainsi que de nouvelles traductions commentées. Ce premier ensemble est complété par des études thématiques prenant en compte la dimension rhétorique et historique de ces textes. Le corpus libanien a joué un rôle déterminant dans l’émergence et le développement des études sur l’Antiquité tardive. Une nouvelle approche de ces quatre textes offre un intérêt indiscutable pour la connaissance du monde scolaire de cette époque : ils délivrent un grand nombre d’informations sur l’univers et le statut des maîtres de rhétorique, sur le rôle social de l’école et la place de la rhétorique dans l’enseignement. Ils constituent ainsi une source très riche pour l’histoire institutionnelle, culturelle et sociale du IVe siècle ap. JC. Leur contribution à l’histoire de l’espace urbain d’Antioche, champ de recherche actuellement en cours d’exploration, ne doit pas non plus être dédaignée. / This thesis presents a new critical edition of four orations by Libanius : oration 34 (in response to the pedagogue’s badmouthing), 35 (To those who do not speak), 36 (About witchcraft) and 43 (About the convention) and new translations with commentaries. This first set is completed by thematic studies taking into account the rhetoric and historical dimension of these texts. The Libanius corpus played a key role in the emergence and development of Late Antiquity studies. A new approach to these four texts offers an undisputable interest for the knowledge of the school world of that time; they issue indeed a lot of information about the world and the status of teachers of rhetoric, on the social role of the school and the place of rhetoric in education. They constitute a very rich source for institutional, cultural and social history of the 4th century AD. Their contribution to the history of the urban area of Antioch, search field currently being explored, should not be left out.

A presença preceptiva da doutrina retórica das ideai de estilo tal como reguladas pelo retor grego Hermógenes registra-se em terras italianas, portuguesas e espanholas, entre os séculos XVI e XVIII. Ora, increve-se nos debates que opõem detratores e defensores do gênero de poema misto. Entre os autores presentes nestes debates está Manuel de Galhegos, cujo prólogo epidítico à Ulyssea, ou Lisboa Edificada elogia a elocução do poema heroico de Gabriel Pereira de Castro com base no Peri iden e permite que se discutam os diferentes usos de Hermógenes entre tradutores, comentadores e glosadores desde tratado, desde Jorge de Trebizonda. Ademais, Francisco José Freire, conhecido como Cândido Lusitano, na Arte poetica, ou Regras da Verdadeira Poesia em geral, e de todas as suas especies principaes, tratadas com juizo critico, censura a tragicomédia como misto vicioso, nem trágico nem cômico, sem proporção e sem unidade. Essa censura da tragicomédia atualiza argumentos atinentes à controvérsia doutrinária que remonta aos fins do século XVI e inícios do século XVII, a qual opõe eruditos como Giasone Denores e Giovanni Battista Guarini, autor de Il Pastor Fido, poema considerado exemplar no gênero e legitimado pela doutrina atribuída a Hermógenes. / The Hermogenes rhetorical theory of stylistic ideai became evident in Italy, Portugal and Spain during the 16th and 18th centuries. This doctrine is related to debates among critics and apologists for the mixed genres. Among the authors involved in theses debates is Manuel de Galhegos, whose epideictic preface to Ulyssea, ou Lisboa Edificada praises this Gabriel Pereira de Castros heroic poem based on Peri iden and enable this thesis to discuss the different uses of Hermogenes by translators, commentators and glossers, since George of Trebizond. Besides, Francisco José Freire, also known as Cândido Lusitano, on the Arte poetica, ou Regras da Verdadeira Poesia em geral, e de todas as suas especies principaes, tratadas com juizo critico, blames tragicomedy as a vicious mixture, neither tragic nor comic, without proportion or unity. This blame reaffirms arguments concerning to poetic controversies of the late sixteenth and early seventeenth centuries, which opposes scholars like Giasone Denores and Giovanni Battista Guarini, author of the Pastor Fido, a poem that is known as an example in terms of Hermogenes theory of a misture of ideai.

A presença preceptiva da doutrina retórica das ideai de estilo tal como reguladas pelo retor grego Hermógenes registra-se em terras italianas, portuguesas e espanholas, entre os séculos XVI e XVIII. Ora, increve-se nos debates que opõem detratores e defensores do gênero de poema misto. Entre os autores presentes nestes debates está Manuel de Galhegos, cujo prólogo epidítico à Ulyssea, ou Lisboa Edificada elogia a elocução do poema heroico de Gabriel Pereira de Castro com base no Peri iden e permite que se discutam os diferentes usos de Hermógenes entre tradutores, comentadores e glosadores desde tratado, desde Jorge de Trebizonda. Ademais, Francisco José Freire, conhecido como Cândido Lusitano, na Arte poetica, ou Regras da Verdadeira Poesia em geral, e de todas as suas especies principaes, tratadas com juizo critico, censura a tragicomédia como misto vicioso, nem trágico nem cômico, sem proporção e sem unidade. Essa censura da tragicomédia atualiza argumentos atinentes à controvérsia doutrinária que remonta aos fins do século XVI e inícios do século XVII, a qual opõe eruditos como Giasone Denores e Giovanni Battista Guarini, autor de Il Pastor Fido, poema considerado exemplar no gênero e legitimado pela doutrina atribuída a Hermógenes. / The Hermogenes rhetorical theory of stylistic ideai became evident in Italy, Portugal and Spain during the 16th and 18th centuries. This doctrine is related to debates among critics and apologists for the mixed genres. Among the authors involved in theses debates is Manuel de Galhegos, whose epideictic preface to Ulyssea, ou Lisboa Edificada praises this Gabriel Pereira de Castros heroic poem based on Peri iden and enable this thesis to discuss the different uses of Hermogenes by translators, commentators and glossers, since George of Trebizond. Besides, Francisco José Freire, also known as Cândido Lusitano, on the Arte poetica, ou Regras da Verdadeira Poesia em geral, e de todas as suas especies principaes, tratadas com juizo critico, blames tragicomedy as a vicious mixture, neither tragic nor comic, without proportion or unity. This blame reaffirms arguments concerning to poetic controversies of the late sixteenth and early seventeenth centuries, which opposes scholars like Giasone Denores and Giovanni Battista Guarini, author of the Pastor Fido, a poem that is known as an example in terms of Hermogenes theory of a misture of ideai.

Isocrate et Confucius entreprennent d’abord l’éducation de la vertu puis préparent à une vie harmonieuse, ils demandent principalement aux disciples de se perfectionner. De plus, les deux maîtres ont chacun leur propre ambition de l’enseignement : Isocrate a l’intention de cultiver le rhéteur accompli, afin de faire savoir aux disciples la réflexion à propos de la méthode philosophique de « doxa » pour rechercher la vérité, de persuader et de guider moralement ses auditeurs, de contribuer au service de la Grèce. Pour Confucius, il introduit l’idéal du « Jun Zi » qui est le standard de la vertu et de la perfection humaines, qui respecte les rites anciens, agit avec les qualités de Ren et du juste milieu et recherche aussi la voie harmonieuse entre les êtres humains et l’Univers. La sagesse d’Isocrate et de Confucius poussent davantage la société de leur époque vers la paix et vers le bonheur. Isocrate offre l’idée de la diffusion des valeurs athéniennes dans toute la Grèce et Confucius engage transmettre les rites de Zhou et forme le fondement de la civilisation traditionnelle chinoise—le confucianisme. Cependant, aujourd’hui, l’influence des deux Maîtres demeure différente : Isocrate n’est pas autant étudié que Confucius. De toute façon, les deux grands Sages contribuent à l’éducation des êtres humains : soit dans le domaine de la rhétorique, soit dans la recherche de sagesse, et laissent aux gens d’aujourd’hui des inspirations importantes à l’humanité, ils méritent d’être respectés et considérés comme auteurs d’un héritage important. / Both Isocrates and Confucius attached first importance to ethics education and then to harmony education. They required especially their disciples to attain self-improvement spiritually. In particular, the two greatmasters also put forward their unique teaching objectives respectively. Isocrates hoped to train perfect rhetoricians, let them grasp "doxa"--the philosophical method of meditation, to seek the truth, and use their moralorations to persuade and lead the audience to eventually devote the public to serving the Greek cause. Confucius hoped to cultivate an image of"gentleman", who was not only a perfect human moral standard, but also anobserver of etiquette, a follower of benevolence and the doctrine of the mean,and an explorer to follow the path to the harmony of human and the universe. The wisdom of Isocrates and Confucius greatly promoted the pace of progress of social peace and the happiness of the general public in their respective times. Isocrates introduced the concept of "Greek" (Hellenisation) for the entire Greek territory while Confucius advocated to restore rites andlaid the foundation for the traditional Chinese culture, Confucianism. But their influence today varies greatly: Isocrates has not been inherited and researched as much as Confucius. In a word, these two great sages have made remarkable contributions to human kind with Isocrates in rhetorics and Confucius in humanistic wisdom. They have all left us modern people humanistic spirit of enlightenment. They are worthy of being respected and inherited.