Airships and Angels is a faux Victorian travel journal created through collaboration with Kristina Krumholt and Rudy Ramirez. Ultimately, the goal of the thesis project is to disrupt traditional hierarchical creative processes by challenging the order in which artifacts are crafted during the creation of a narrative structure and, ultimately, a performance. The end product is a leather book that is shared in the manner of rare books (by appointment and in a controlled environment) for a week, and two special two-night readings with projected imagery at the end of the week. In this process I first created concept art and the text was created afterwards by Krumholt. Once the text was complete the two artifacts were brought together and developed further. Eventually all the images were drawn and the book was printed, bound, and performed. / text

Esta dissertação tem por objetivo analisar o desenvolvimento da produção escrita em francês como língua estrangeira, por meio do gênero textual relato de viagem, porém procurando verificar como os alunos desenvolvem suas capacidades de linguagem a partir das restrições e liberdades permitidas pelo gênero escolhido. Nesse sentido, a pesquisa visa a investigar como os alunos se apropriam de características do gênero, mostrando, também, como inserem marcas de subjetividade que podem ser consideradas como estilísticas. Os dados foram coletados em um curso de produção escrita, oferecido pelos cursos extracurriculares de francês do Serviço de Cultura e Extensão da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Os alunos, situando-se entre o nível A2 e B1 do Quadro Europeu Comum de Referência para as Línguas (CONSEIL DE LEUROPE, 2001), puderam estudar três diferentes gêneros textuais, dentre eles o relato de viagem. Os aportes teóricos que orientaram esta pesquisa apoiam-se, sobretudo, nos pressupostos do interacionismo sociodiscursivo (BRONCKART, 1999/2009, 2006a, 2008; MACHADO, 2009) e nos estudos de Schneuwly e Dolz (2004/2010) sobre a utilização dos gêneros textuais como instrumento no ensino e aprendizagem, para o desenvolvimento das capacidades de linguagem dos alunos: capacidade de ação, capacidade discursiva e capacidade linguísticodiscursiva. Para atingir os objetivos específicos desta pesquisa, baseamo-nos, paralelamente, nas discussões sobre estilo a partir de alguns autores (BRONCKART, 1999/2009, 2006c; SCHNEUWLY; DOLZ, 2004/2010; BAKHTIN, 1997; CLOT, 2007; BRANDÃO, 2005a, 2005b; BRAIT, 2005), mas, principalmente, na discussão acerca das coerções e liberdades textuais de Bronckart (2006c). A fim de analisar os textos coletados, além do quadro teóricometodológico proposto por Bronckart (1999/2009; 2006a), servimo-nos dos estudos de Kerbrat-Orecchioni (2002) e Maingueneau (2001) no que diz respeito às marcas de subjetividade nos textos. Com base em autores que estudam o papel dos gêneros textuais no ensino (SCHNEUWLY; DOLZ, 2004; DOLZ; GAGNON; TOULOU, 2008; LOUSADA, 2002/2010, 2009, 2010; CRISTOVÃO, 2002/2010, 2009), construímos o modelo didático do gênero relato de viagem, elaboramos uma sequência didática (SD) e a aplicamos no contexto referido. Os dois primeiros módulos da SD propuseram atividades que focalizaram as características mais estáveis do gênero. Após esses módulos, uma produção intermediária foi requerida aos alunos, com a intenção de verificar se eles tinham mobilizado as capacidades de linguagem primordiais para a produção desse gênero. Em seguida, no terceiro módulo, selecionamos um texto com o objetivo de explorarmos as liberdades textuais exercidas por seu produtor. Os resultados de nossa pesquisa mostraram que o trabalho com gêneros em língua estrangeira se constitui como um instrumento potencial de desenvolvimento das capacidades de linguagem dos alunos. Ao focarmos o estilo nos textos, os alunos, em suas produções finais, mobilizaram recursos discursivos e linguísticos menos canônicos, sob inspiração dos textos vistos em aula, estabelecendo, portanto, uma relação de intertextualidade com os textos da SD. Além de demonstrar a natureza dialógica do estilo, alguns alunos, ainda, recorreram ao intertexto, o que pode indicar o desenvolvimento da autonomia na escrita. Em suma, nossa proposta didática foi ao encontro do que afirma Bronckart (2006c): a preexistência de modelos é a primeira condição para o exercício da liberdade nos textos / This thesis aims to analyze the development of written production in French as a foreign language through the genre \"travel journal\", but trying to verify how students develop their language capacities from restrictions and liberties allowed by the chosen genre. Therefore, this research investigates how students appropriate the characteristics of the genre and shows how they insert marks of subjectivity that can be considered as stylistics. Data was collected in a writing course offered by Cultural and Extension Service French extracurricular courses, from the Faculty of Philosophy, Letters and Human Sciences, at the University of São Paulo. Students, ranging between levels A2 and B1 of the Common European Framework of Reference for Languages (CONSEIL DE L\' EUROPE, 2001), were able to study three different textual genres, among them the travel journal. The theoretical framework that guided this research relies mainly on the theoretical assumptions of socio-discursive interactionism (BRONCKART, 1999/2009, 2006a, 2008; MACHADO, 2009) and the studies of Schneuwly and Dolz (2004/2010) on the use of textual genres as a tool for teaching and learning that can help student develop their language capacities: action capacity, discursive capacity, and linguistic-discursive capacity. To achieve our specific goals, we rely in parallel on the discussions about style (BRONCKART, 1999/2009, 2006c; SCHNEUWLY; DOLZ, 2004/2010; BAKHTIN, 1997; CLOT, 2007; BRANDÃO, 2005a, 2005b; BRAIT, 2005), but mainly on the discussion of textual constraints and liberties by Bronckart (2006c). In order to analyze the texts collected, we use not only the theoretical and methodological framework proposed by Bronckart (1999/2009, 2006a), but also the studies from Kerbrat-Orecchioni (2002) and Maingueneau (2001) with regard to subjectivity marks in the texts. Based on authors who study the function of textual genres in teaching (SCHNEUWLY; DOLZ, 2004/2010; DOLZ; GAGNON; TOULOU, 2008; LOUSADA, 2002/2010, 2009, 2010; CRISTOVÃO, 2002/2010, 2009), we built the didactic model of the textual genre travel journal, developed a didactic sequence (DS), and applied it in the context mentioned before. Activities were proposed in the first two modules of the DS that focused on the most stable features of the genre. After these modules, an intermediate production was required from students intending to check if they had mobilized essential language capacities for the production of this genre. In the third module we selected a text with the aim of exploring textual liberties exercised by its producer. The results of our research showed that a genrebased perspective is a potential tool for developing students language capacities in a foreign language. As we focused on style in texts, students mobilized less canonical discursive and linguistic resources in their final productions inspired by texts from the class, thus establishing a relationship of inter-textuality with the texts of the DS. In addition, demonstrating the dialogic nature of style some students also made use of inter-text, which may indicate the development of autonomy in writing. In short, our didactic proposal confirms Bronckart (2006c) statement: preexisting models are the first condition for the exercise of liberty in texts

Esta dissertação tem por objetivo analisar o desenvolvimento da produção escrita em francês como língua estrangeira, por meio do gênero textual relato de viagem, porém procurando verificar como os alunos desenvolvem suas capacidades de linguagem a partir das restrições e liberdades permitidas pelo gênero escolhido. Nesse sentido, a pesquisa visa a investigar como os alunos se apropriam de características do gênero, mostrando, também, como inserem marcas de subjetividade que podem ser consideradas como estilísticas. Os dados foram coletados em um curso de produção escrita, oferecido pelos cursos extracurriculares de francês do Serviço de Cultura e Extensão da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Os alunos, situando-se entre o nível A2 e B1 do Quadro Europeu Comum de Referência para as Línguas (CONSEIL DE LEUROPE, 2001), puderam estudar três diferentes gêneros textuais, dentre eles o relato de viagem. Os aportes teóricos que orientaram esta pesquisa apoiam-se, sobretudo, nos pressupostos do interacionismo sociodiscursivo (BRONCKART, 1999/2009, 2006a, 2008; MACHADO, 2009) e nos estudos de Schneuwly e Dolz (2004/2010) sobre a utilização dos gêneros textuais como instrumento no ensino e aprendizagem, para o desenvolvimento das capacidades de linguagem dos alunos: capacidade de ação, capacidade discursiva e capacidade linguísticodiscursiva. Para atingir os objetivos específicos desta pesquisa, baseamo-nos, paralelamente, nas discussões sobre estilo a partir de alguns autores (BRONCKART, 1999/2009, 2006c; SCHNEUWLY; DOLZ, 2004/2010; BAKHTIN, 1997; CLOT, 2007; BRANDÃO, 2005a, 2005b; BRAIT, 2005), mas, principalmente, na discussão acerca das coerções e liberdades textuais de Bronckart (2006c). A fim de analisar os textos coletados, além do quadro teóricometodológico proposto por Bronckart (1999/2009; 2006a), servimo-nos dos estudos de Kerbrat-Orecchioni (2002) e Maingueneau (2001) no que diz respeito às marcas de subjetividade nos textos. Com base em autores que estudam o papel dos gêneros textuais no ensino (SCHNEUWLY; DOLZ, 2004; DOLZ; GAGNON; TOULOU, 2008; LOUSADA, 2002/2010, 2009, 2010; CRISTOVÃO, 2002/2010, 2009), construímos o modelo didático do gênero relato de viagem, elaboramos uma sequência didática (SD) e a aplicamos no contexto referido. Os dois primeiros módulos da SD propuseram atividades que focalizaram as características mais estáveis do gênero. Após esses módulos, uma produção intermediária foi requerida aos alunos, com a intenção de verificar se eles tinham mobilizado as capacidades de linguagem primordiais para a produção desse gênero. Em seguida, no terceiro módulo, selecionamos um texto com o objetivo de explorarmos as liberdades textuais exercidas por seu produtor. Os resultados de nossa pesquisa mostraram que o trabalho com gêneros em língua estrangeira se constitui como um instrumento potencial de desenvolvimento das capacidades de linguagem dos alunos. Ao focarmos o estilo nos textos, os alunos, em suas produções finais, mobilizaram recursos discursivos e linguísticos menos canônicos, sob inspiração dos textos vistos em aula, estabelecendo, portanto, uma relação de intertextualidade com os textos da SD. Além de demonstrar a natureza dialógica do estilo, alguns alunos, ainda, recorreram ao intertexto, o que pode indicar o desenvolvimento da autonomia na escrita. Em suma, nossa proposta didática foi ao encontro do que afirma Bronckart (2006c): a preexistência de modelos é a primeira condição para o exercício da liberdade nos textos / This thesis aims to analyze the development of written production in French as a foreign language through the genre \"travel journal\", but trying to verify how students develop their language capacities from restrictions and liberties allowed by the chosen genre. Therefore, this research investigates how students appropriate the characteristics of the genre and shows how they insert marks of subjectivity that can be considered as stylistics. Data was collected in a writing course offered by Cultural and Extension Service French extracurricular courses, from the Faculty of Philosophy, Letters and Human Sciences, at the University of São Paulo. Students, ranging between levels A2 and B1 of the Common European Framework of Reference for Languages (CONSEIL DE L\' EUROPE, 2001), were able to study three different textual genres, among them the travel journal. The theoretical framework that guided this research relies mainly on the theoretical assumptions of socio-discursive interactionism (BRONCKART, 1999/2009, 2006a, 2008; MACHADO, 2009) and the studies of Schneuwly and Dolz (2004/2010) on the use of textual genres as a tool for teaching and learning that can help student develop their language capacities: action capacity, discursive capacity, and linguistic-discursive capacity. To achieve our specific goals, we rely in parallel on the discussions about style (BRONCKART, 1999/2009, 2006c; SCHNEUWLY; DOLZ, 2004/2010; BAKHTIN, 1997; CLOT, 2007; BRANDÃO, 2005a, 2005b; BRAIT, 2005), but mainly on the discussion of textual constraints and liberties by Bronckart (2006c). In order to analyze the texts collected, we use not only the theoretical and methodological framework proposed by Bronckart (1999/2009, 2006a), but also the studies from Kerbrat-Orecchioni (2002) and Maingueneau (2001) with regard to subjectivity marks in the texts. Based on authors who study the function of textual genres in teaching (SCHNEUWLY; DOLZ, 2004/2010; DOLZ; GAGNON; TOULOU, 2008; LOUSADA, 2002/2010, 2009, 2010; CRISTOVÃO, 2002/2010, 2009), we built the didactic model of the textual genre travel journal, developed a didactic sequence (DS), and applied it in the context mentioned before. Activities were proposed in the first two modules of the DS that focused on the most stable features of the genre. After these modules, an intermediate production was required from students intending to check if they had mobilized essential language capacities for the production of this genre. In the third module we selected a text with the aim of exploring textual liberties exercised by its producer. The results of our research showed that a genrebased perspective is a potential tool for developing students language capacities in a foreign language. As we focused on style in texts, students mobilized less canonical discursive and linguistic resources in their final productions inspired by texts from the class, thus establishing a relationship of inter-textuality with the texts of the DS. In addition, demonstrating the dialogic nature of style some students also made use of inter-text, which may indicate the development of autonomy in writing. In short, our didactic proposal confirms Bronckart (2006c) statement: preexisting models are the first condition for the exercise of liberty in texts

O objetivo deste trabalho é comprovar que um modo peculiar de descrição paisagística percorre a primeira parte de O turista aprendiz (1927-1943), de Mário de Andrade. A paisagem literária que compõe essa obra do escritor arlequinal é estruturada a partir do diálogo do narrador (anti)viajante com perspectivas, padrões e processos artísticos de outras artes que, reunidos, conferem ao diário de viagem uma profundidade narrativo-descritiva. O estudo detido de três grandes quadros do diário amazônico Foz do Amazonas, Vitória-régia e Alvorada , realizado nesta tese, permite perceber a forma difícil do fazer paisagem do autor modernista, motivado, sobretudo, pela releitura crítica das produções literárias e científicas de tradição romântica. / The aim of this study is to demonstrate that Mario de Andrade describes the landscape in a singular way in the first part of his book O turista aprendiz (The Apprentice Tourist) (1927- 1943). The literary landscape that constitutes this work of the harlequin author is based on the (anti)traveler narrator\'s dialogue with other kinds of art. These different artistic perspectives, standards and processes are combined and provide a narrative-descriptive depth to the authors travel journal. A detailed study of three large pictures of Mario de Andrades Amazonic journal Foz do Amazonas, Vitória-régia and Alvorada is developed in this thesis. The analysis provided unveils the intricate way chosen by the modernist author to compose the landscape, mainly motivated by the critical rereading of literary and scientific writings of the Romantic Tradition.

À partir de la culture du voyage et des études sur la mentalité du voyageur à la Renaissance, en comparant les récits de voyage de l’époque de Montaigne, notre recherche dévoile progressivement l’idée du voyage que Montaigne a conçue et pratiquée entre 1580 et 1581, en Allemagne, en Suisse et en Italie. Il considère ce long voyage à l’étranger comme une promenade, ou plutôt des promenades, en des lieux différents. Telle est la singularité dans la pensée montaignienne : la promenade est, par nature, une manière de marcher afin de se distraire. Cependant, Montaigne-voyageur transforme cette démarche en un art de voyager qui vise à éprouver du plaisir sur sa route pour rétablir une âme mélancolique, un état déséquilibré, raison initiale de son départ. Au niveau de la création littéraire, les deux ouvrages entreprennent deux genres distincts pour représenter le séjour à l’étranger de Montaigne. Le Journal de voyage, réalisé par son secrétaire et par Montaigne lui-même, représente le « moi-voyageur » du point de vue du voyageur sur la route. Quant aux Essais, en insérant certains événements de ce séjour à l’étranger, ils représentent un « Montaigne-voyageur » du point de vue de l’essayiste, qui effectue une introspection de son « moi-voyageur » et de son expérience de voyage après son retour en France. Ainsi, cette variation d’écriture entraîne un effet de décalage dans la lecture des deux ouvrages sur le même thème du voyage. Mais, « Montaigne-voyageur » joue également le rôle d’essayiste dans son parcours, au sens de l’expérimentation, et reprend sa place d’écrivain-essayiste dans ses Essais. / From travel culture and the study on the mentality of the traveler in the Renaissance, by comparing the travel writings at the time of Montaigne, this study progressively reveals the idea of travel that Montaigne conceived and practiced during 1580 and 1581, in Germany, Switzerland and Italy. He considers this long trip abroad as a walk, or rather walks, in different places. That’s the peculiarity in Montaigne’s thoughts: the walk is, by nature, a way of amusing oneself. However, Montaigne-traveller transforms this process into an art of travelling that seeks to feel pleasure on his road, in order to restore a melancholy soul and an unbalanced state, initial reason for his departure.In terms of literary creation, the two works convey two distinct genres of representing Montaigne’s stay abroad. The Montaigne’s Travel Journal, accomplished by his secretary and by Montaigne himself, represents the "me-traveller" from the point of view of the traveller on the road. And The Essays, by inserting some pieces during this stay abroad, they represent a "Montaigne-traveller" from the point of view of the essayist, who undertakes an introspection of his "me-traveller" and his travel experience after his return to France. Thus, this writing variation causes a shift in the reading of two books on the same theme of travel. But "Montaigne-traveller" also plays the role of the essayist during his journey, in the sense of experimentation, and resumes his position of writer-essayist in The Essays.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T13:39:49Z No. of bitstreams: 2 Dissertação - Thiago Damasceno Pinto Milhomem - 2018.pdf: 14290151 bytes, checksum: 86ef286d465a454e620f90c2592bfcb4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T14:00:10Z (GMT) No. of bitstreams: 2 Dissertação - Thiago Damasceno Pinto Milhomem - 2018.pdf: 14290151 bytes, checksum: 86ef286d465a454e620f90c2592bfcb4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-07T14:00:10Z (GMT). No. of bitstreams: 2 Dissertação - Thiago Damasceno Pinto Milhomem - 2018.pdf: 14290151 bytes, checksum: 86ef286d465a454e620f90c2592bfcb4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-27 / Pilgrimage to the holy city of Mecca (ḥajj) has been one of the pillars of Islam since the seventh century, the time of the advent of the religion in the Arabian Peninsula, as an ordering in the Holy Qur'an and in the sayings and deeds of Prophet Muḥammad. Being this pilgrimage mandatory for all faithful adults in good enough physical and material conditions, different personalities of the Islamic world have realized the sacred journey in different times. Many have left their written testimonies, as a legacy of their observations and impressions on societies and historical events of Islamic and non-Islamic domains, thus influencing the emergence of a specific literary genre of Arab-Islamic culture, the travel journal (rihla). One of the pioneers of this genre was Ibn Jubayr (1145-1217), a Muslim from the city of Valencia, writer of a journal of his travels to the region that today corresponds to the Middle East, between 1183 and 1185, a period between the Second and the Third Crusade. We use Ibn Jubayr's travel journal edited as “Through the East (Rihla)”, a version published by Alianza Literaria in 2007, and which consists of a translation from Arabic into Spanish by Felipe Maíllo Salgado. From this testimony, centered on the religious journey of the writer-traveler to Mecca, we analyze the possibilities and social conditions of ḥajj at the end of the twelfth century, in the context of the Crusades, a long-lasting historical phenomenon permeated by important religious, political, economic, military and cultural aspects / A peregrinação à cidade santa de Meca (ḥajj) é um dos pilares do Islã desde o século VII, época do advento da religião na Península Arábica, configurando como uma ordenação no Alcorão Sagrado e nos ditos e feitos do Profeta Muḥammad. Sendo essa peregrinação obrigatória para todo fiel adulto e são e em condições físicas e materiais para tal, diferentes personalidades do mundo islâmico realizaram a jornada sagrada em diversas épocas. Muitos deixaram seus testemunhos por escrito, legando à posteridade suas observações e impressões sobre sociedades e eventos históricos de domínios islâmicos e não islâmicos, influenciando assim no surgimento de um gênero literário específico da cultura árabe-islâmica, o relato de viagem (rihla). Um dos pioneiros do gênero foi Ibn Jubayr (1145-1217), muçulmano natural da cidade de Valência, escritor de um relato referente às suas viagens à região que hoje corresponde ao Oriente Médio, entre 1183 e 1185, período situado entre a Segunda e a Terceira Cruzada. Utilizamos o relato de viagens de Ibn Jubayr editado como A través del Oriente (Rihla), versão publicada pela editora Alianza Literaria em 2007 e que consiste em uma tradução do árabe para o espanhol feita por Felipe Maíllo Salgado. A partir desse testemunho, centrado no périplo religioso do viajante-escritor a Meca, analisaremos as possibilidades e condições sociais de realização do ḥajj em fins do século XII, contexto de Cruzadas, fenômeno histórico de longa duração permeado por importantes aspectos religiosos, políticos, econômicos, militares e culturais.

O objetivo deste trabalho é comprovar que um modo peculiar de descrição paisagística percorre a primeira parte de O turista aprendiz (1927-1943), de Mário de Andrade. A paisagem literária que compõe essa obra do escritor arlequinal é estruturada a partir do diálogo do narrador (anti)viajante com perspectivas, padrões e processos artísticos de outras artes que, reunidos, conferem ao diário de viagem uma profundidade narrativo-descritiva. O estudo detido de três grandes quadros do diário amazônico Foz do Amazonas, Vitória-régia e Alvorada , realizado nesta tese, permite perceber a forma difícil do fazer paisagem do autor modernista, motivado, sobretudo, pela releitura crítica das produções literárias e científicas de tradição romântica. / The aim of this study is to demonstrate that Mario de Andrade describes the landscape in a singular way in the first part of his book O turista aprendiz (The Apprentice Tourist) (1927- 1943). The literary landscape that constitutes this work of the harlequin author is based on the (anti)traveler narrator\'s dialogue with other kinds of art. These different artistic perspectives, standards and processes are combined and provide a narrative-descriptive depth to the authors travel journal. A detailed study of three large pictures of Mario de Andrades Amazonic journal Foz do Amazonas, Vitória-régia and Alvorada is developed in this thesis. The analysis provided unveils the intricate way chosen by the modernist author to compose the landscape, mainly motivated by the critical rereading of literary and scientific writings of the Romantic Tradition.

La thèse intitulée « Tempus edax rerum » (« Le temps rongeur dévore tout », Ovide). Le voyage sur ses propres pas dans les écrits du prince Henryk Lubomirski aborde la question d’un second voyage et les incidences du retour dans les mêmes endroits sur la perception de l’auteur. Cette problématique est étudiée à partir de documents manuscrits méconnus jusqu’à présent : le journal de voyage du prince Henryk Lubomirski, la correspondance avec sa mère adoptive la princesse Izabela Lubomirska, et d’autres témoignages conservés dans des archives en Pologne et en Ukraine. Pour entamer nos études, il a fallu définir le phénomène du second voyage qui, pour nous, relève de l’expérience réelle du déjà-parcouru. Cette répétition de l’itinéraire permet de constater les divergences dans la perception des mêmes paysages, sites, monuments dues à divers facteurs, entre autres le vécu et l’histoire personnels qui forment, modifient, varient la sensibilité et la susceptibilité du voyageur. Nous cherchons donc à déterminer la spécificité du regard redoublé, voire renouvelé indépendamment des motifs du déplacement, de sa destination et de la biographie du voyageur. Dans la première partie de la thèse, nous présentons l’histoire du second voyage à partir du Moyen Âge, l’époque où le phénomène est très rare, jusqu’à la Révolution qui marque une rupture, qui met un terme à un certain type de périple et donne naissance à une pratique viatique liée à la nouvelle sensibilité issue de ce grand bouleversement. Nous essayons de démontrer ce qui est particulier et ce qui est universel dans cette expérience. Le second voyage est analysé à partir des pérégrinations de Goethe à travers l’Italie et des retours de Chateaubriand à Londres et à Rome. Chez ces grands écrivains la répétition évoque des émotions différentes. Goethe est déçu, les nouvelles impressions chassent les anciennes, la valeur associée au second voyage se fonde sur l’effacement. Chateaubriand, par contre, tente un rapprochement entre différentes périodes de sa vie et il constate une accumulation des sensations. Les deux exemples des voyageurs polonais qui ont effectué un second voyage complètent ce parcours historique. Dans la deuxième partie, nous exposons la biographie du prince Henryk Lubomirski et les circonstances de son second voyage. Nous parlerons de sa formation et de l’influence décisive de sa mère adoptive qui sera la compagnonne de son Grand Tour dans les années 1789-1790, ainsi que de son activité à l’âge mûr, à savoir la protection du patrimoine culturel polonais. En 1811, le prince et sa famille quittent Genève à cause de problèmes de santé de son épouse. Le séjour dans le Midi devait l’aider à se remettre et à retrouver l’équilibre mental. Cette pérégrination se déroule à travers la France postrévolutionnaire, partout les traces des bouleversements historiques se laissent percevoir. Le prince Lubomirski décrit minutieusement leur itinéraire, le logement, les moyens de transport et les manifestations culturelles auxquelles il assiste. Il note aussi les prix et donne d’autres renseignements pratiques. Ce qui l’intéresse, c’est le paysage qu’il perçoit avec une nouvelle sensibilité si caractéristique pour cette époque charnière. La recherche du sublime et les réflexions sur la relation entre la nature et l’état de l’âme ainsi que sur la fragilité du destin humain se multiplient dans le récit. La troisième partie est consacrée à la question de la mémoire et à ses différentes apparitions : individuelle, collective, nationale. Nous observons qu’aucun regard n’est « innocent », il est toujours chargé de l’histoire personnelle du sujet. La mémoire permet d’opérer une relecture des endroits déjà visités et déclenche des souvenirs. Grâce à son activité affective, elle transforme des lieux neutres en emblèmes de l’agréable, le voyageur récupère le monde disparu et se retrouve soi-même. / The purpose of the thesis « Tempus edax rerum » (« Le temps rongeur dévore tout », Ovide). Le voyage sur ses propres pas dans les écrits du prince Henryk Lubomirski is to approach the question of the second journey and the repercussions of the comeback to the same places on the author's perception. These problems are undertaken through the careful lecture of a number of up-to-date unknown manuscripts: that is, prince Henryk Lubomirski's travel diary and the correspondence with his adoptive mother Izabella Lubomirska, as well as others testimonies.In the preliminary part of the research, it was necessary to define the second journey, which for the purposes of this study, is a real experience of the already-visited. The very repetition of the itinerary allowed to discern the differences in the perception of landscapes, places of interest and historic monuments, all due to different factors; among which are someone's real life experience which form, modify and vary the traveller's sensibility. This in turn made possible an attempt to investigate the specificity of the doubled or renewed look apart from the underlying reasons, such as journey destination, motivation of the traveller, and the biography of the latter.The first part presents the history of the second journey, tracing it back to the Middle Ages, when it was a very uncommon phenomenon, and concluding with the French Revolution which is the moment of a sudden change, putting an end to one kind of travelling and giving way to another experience related to new sensibility, deriving from revolutionary upheaval. Thus, the study attempts to reveal particularity and universality of the second journey in the post-revolutionary era.This in itself is looked at through the lens of Goethe's peregrination across Italy and Chateaubriand's comebacks to Rome and London. In their texts the repetition evokes different emotions. Goethe being disappointed, in his account the new impressions drive away the old ones. Thus, for him the value of the second journey is based on erasing. Chateaubriand, on the other hand, draws a parallel between different times of his life as he observes the accumulation of sensations. The accounts of two Polish travellers from the period complete this historical section.In the second part are approached prince Henryk Lubomirski's biography and the circumstances of his second journey. In particular, his cultural background is taken into account as well as his adoptive mother's influence on his upbringing. She accompanied him in his Grand Tour in 1789-1780 and later on, in his maturity, assisting him in the task of the Polish cultural heritage protection.In 1811 he and his family leave Geneva because of his wife health problems. The stay in the South of France was planned to help her in her recovery and finding mental equilibrium. The journey takes place across post-revolutionary France where traces of atrocities are still clearly visible. The prince describes meticulously itinerary, means of transport, accommodation and events he attends. He writes down prices and practical information. He is particularly fond of landscapes he looks at with new sensibility, characteristic for the period. The sublime search, reflexions on the relation between nature and the states of soul and the fragility of the human fate multiply in the relation.The third part is related to memory and its different dimensions: individual, collective and national. We note that there is no innocent perception, it is always tinged with author's personal history. The memory lets the traveller read again places already visited and triggers memories. Thanks to its affective activity it converts neutral places into symbols of the pleasant, allowing the traveller to succeed in his perennial quest of recovering the world that no longer exists and finding himself back.