Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-12-08T16:06:14Z No. of bitstreams: 1 2016_LuizEudásioCapeloBarrosoSilva.pdf: 1186415 bytes, checksum: 60e4a740599b1a02355b01948d83cc63 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2017-01-11T21:07:40Z (GMT) No. of bitstreams: 1 2016_LuizEudásioCapeloBarrosoSilva.pdf: 1186415 bytes, checksum: 60e4a740599b1a02355b01948d83cc63 (MD5) / Made available in DSpace on 2017-01-11T21:07:40Z (GMT). No. of bitstreams: 1 2016_LuizEudásioCapeloBarrosoSilva.pdf: 1186415 bytes, checksum: 60e4a740599b1a02355b01948d83cc63 (MD5) / Essa pesquisa objetiva pensar a Retórica presente nos discursos de Victor Hugo durante seu exílio e, também, como a liberdade, em suas diferentes formas, é o principal tema desses discursos. A fim de contextualizar e de melhor refletir sobre algumas dessas alocuções, foi inicialmente montado um arcabouço teórico retórico necessário para pensar e analisar o discurso político hugoano. Objetivando desvelar a passagem de jovem monarquista para homem republicano, é feita uma discussão acerca da correlação entre o desenrolar dos acontecimentos históricos e a própria biografia de Hugo. Em seguida, divide-se o corpus dos discursos hugoanos, buscando agrupar os discursos segundo a tríade da Revolução Francesa: fraternidade igualdade e liberdade. A Revolução é o paradigma, pois estabeleceu uma República e tornou a todos cidadãos, não mais súditos, encerrando uma era de privilégios e distinções sociais baseadas no nascimento. Os ideais da revolução não tendo sido plenamente alcançados levam Hugo a retomar os combates almejando, então, uma real revolução. Exilado, o II Império, de Napoléon le Petit, tornou-se a Bastilha a ser conquistada. __________________________________________________________________________________________________ ABSTRACT / This research aims to think the rhetoric in the speeches by Victor Hugo during his exile and also how the freedom in its various forms is the main theme of these texts. In order to contextualize and better reflect on some of these speeches it was initially mounted a rhetorical theoretical framework necessary to think and analyze the hugoan political discourse. Aiming to reveal the passage of young monarchist to republican man, is made a discussion about the correlation between the unfolding of historical events and Hugo biography itself. Then, it was divided the corpus of hugoan speeches trying to group the speeches according to the triad of the French Revolution: fraternity equality and freedom. The Revolution is the paradigm, because it established a republic and made all citizens, not subjects, ending an era of privilege and social distinctions based on birth. The ideals of the revolution have not been fully achieved leading Hugo to resume fighting craving, then a real revolution. Exiled, the Second Empire of Napoléon le Petit, became the Bastille to be won.

À frente de seu tempo e com dons excepcionais, Victor Brecheret trilhou um árduo caminho de sucesso. Mesmo com poucos recursos, nunca desanimou ou deixou de tentar, tendo estudado em diversas escolas de arte, inclusive em Paris, como bolsista. Nascido na Itália, veio para o Brasil quando ainda era criança, e cresceu entre os grandes e renomados nomes da arte. Morou em Roma, onde abriu seu primeiro atelier, mas foi em Paris que elevou e firmou seu estilo. Sua temporada parisiense é recheada pelo aprendizado das três fontes: ênfase ao volume geométrico das esculturas cubistas, ao tratamento sintético da forma de Brancusi e à estilização elegante do Art Déco. Além desses estilos, Brecheret trouxe da Europa os traços do modernismo. Durante toda sua carreira artística, desenvolveu diversos e diferenciados trabalhos, porém, é sempre lembrado por talhar seu cinzel em gigantesco bloco de mármore, dando forma a magníficas e esculturais obras. Seu maior trabalho, o mais reconhecido e citado, é, sem sombra de dúvidas, o Monumento às Bandeiras, na cidade de São Paulo, pelo qual deixou sua marca registrada, eternizando seu nome e firmando sua arte. Brecheret também deixou sua marca em obras tumulares que encantam os olhos e transformam a dor da morte em beleza e suaves lembranças de uma vida plena. Sua principal obra, dentre a arte tumular, é a Musa Impassível, que adornou com graciosidade o túmulo da poetisa Francisca Júlia, por mais de 80 anos (1923-2006) e, desde 2006, está alocada na Pinacoteca do Estado de São Paulo. Criada como uma homenagem póstuma a uma grande mulher, a Musa Impassível é a união da literatura com a arte, da poetisa com o escultor, da dor com a beleza, da morte com a eternidade; é a real certeza de que uma pessoa pode ser eternizada por meio de uma escultura, admirada entre infinitas gerações e lembrada pelas suas conquistas e grandiosidade. / Ahead of his time and exceptional gifts, Victor Brecheret walked a hard path of success. Even with few resources, never discouraged or stopped trying, he studied at several art schools, including in Paris with a scholarship. Born in Italy, he came to Brazil when he was a child and grew up among the great and renowned art names. He lived in Rome, where he opened his first atelier, but it was in Paris that he raised and formed his own style. His Parisian season is filled by learning from three sources: emphasis on geometric volume of cubist sculptures, synthetic treatment of form of Brancusi and the elegant Art Deco styling. In addition to these styles, Brecheret brought from Europe traces of modernism. Throughout his artistic career, he has developed on diversed and differentiated work; however, he is always remembered for his chisel carving in mammoth marble blocks, forming the magnificent and sculptural works. His greatest work, which is the most recognized and quoted, is undoubtedly the Monument to the Flags in the city of São Paulo, and for which he left his trademark, immortalizing his name and establishing his art. Brecheret also left his mark on tomb works. His funerary art is to delight the eyes and transform the pain of death in beauty and soothing memories of a full life. His main work, in the funerary art, is the Impassive Muse, which has been adorning with grace, the tomb of the poet Frances Julia for over 80 years (1923-2006), and since 2006, has being allocated in the Pinacoteca of the State of São Paulo. Created as a posthumous tribute to a great woman, the Impassive Muse is the union of literature with the art, the poet with the sculptor, pain with beauty, death with eternity; it is the real certainty that a person can be immortalized by a sculpture, admired along endless generations, and remembered for its achievements and grandeur.

O objetivo da presente pesquisa é comparar as figuras femininas das poesias de Victor Hugo e Charles Baudelaire, tendo como eixo de análise a expressão da natureza e da artificialidade. O trabalho realiza-se especialmente a partir da leitura de poemas e consiste numa reflexão sobre as comparações entre os poetas encontradas na fortuna crítica, em uma apresentação geral de suas obras voltada para o estudo do progresso, da função do poeta e da paisagem em relação ao contexto do século XIX, e na análise de correlações e diferenças nas imagens de mulheres de suas poesias. / The aim of this research is to compare the female figures of poems by Victor Hugo, Charles Baudelaire considering the expression of nature and artificiality as their center. The comparison applied to these works will take place especially through reading poems. In addition to a literature review of the comparisons between them previously undertaken and an overview of their work focused on the study of progress, the role of poet and landscape in relation to the context of the nineteenth century, the work allows correlations and differences in the images of women on their poetry to be analyzed.

Travaillant depuis des années sur Victor GELU, notamment en mastère, à l’Université Paul-Valéry de MONTPELLIER, sachant qu’un travail de transcription des Correspondances de l’écrivain marseillais démarrait, j’ai choisi de combler le vide que représentait l’absence d’une transcription suivie des Notes biographiques de Victor GELU. En effet, n’en était disponible qu’un recueil de morceaux choisis arbitrairement, inutilisable pour la recherche. J’ai transcrit à peu près la moitié des Notes, 1806-1841, m’autorisant à poursuivre la suite 1841-1857 en 2010-2011. Au fur et à mesure de ma transcription un problème émergeait, l’apparition d’une image de Victor GELU différente de celle qu’avait pu me fournir mon travail de mastère (avec l’analyse systématique des thématiques dans l’oeuvre de Victor GELU, MONTPELLIER 2004). Cette image ne correspondait pas non plus à celle fournie par un autre travail en train de s’effectuer à l’Université Paul-Valéry (Victor GELU transcription des correspondances, thèse Odile DELMAS). La problématique de ma recherche s’est donc imposée : quelle image de lui bâtit Victor GELU, en 1857-58, dans les Notes biographiques, ouvrage destiné à parution. Sachant que Victor GELU sort juste de démêlés avec la censure pour la deuxième édition de ses Chansons (1856) et que 1857 est l’année des procès de Madame Bovary, des Fleurs du Mal, des Mystères du Peuple, dans quelle mesure l’image forgée de lui, en 1857, par les Notes biographiques correspond-elle à la réalité ? / This thesis deals with Victor Gelu's Bibliographical Notes (1806-1857).

Dans l’oeuvre provençale de Victor GELU, thématiques politique, sociale et philosophique écrasent statistiquement les autres thématiques par leur présence. C’était une des conclusions de deux mémoires soutenus en 2004 à l’Université Paul Valéry, l’un par moi-même, l’autre par Monsieur CHATAIN. Mais si les trois serrures étaient bien là il manquait une clef. Les thématiques politique et sociale se positionnaient à gauche. Les références exactes de la thématique philosophique ne voulaient pas se préciser. Avant de se préoccuper d’interpréter le sens de l’oeuvre il eût mieux valu savoir qui était l’homme. Les pensées politique, sociale et philosophiques de Victor GELU, une opportunité s’offrait d’essayer de les reconstituer avec le fonds de 430 lettres de 1843 à 1885. Comment exploiter ce gisement ? Certainement pas en croyant l’épistolier qui faisait preuve d’une grande prudence. La solution était de faire parler ses correspondants. Une notice biographique de chacun fut faite en y portant ses engagements politiques, sociaux et philosophiques. Le regroupement des notices a permis de constituer cinq ensembles de destinataires au fil de la vie de l’écrivain marseillais. La confrontation des cinq ensembles a permis de dessiner un correspondant type qui, en creux, constitue le portrait reconstruit de Victor GELU, un homme aux idées républicaines, souvent socialisantes (pas dans un sens marxiste étroit du terme) et, de sa jeunesse à la fin de sa vie, aux préoccupations maçonniques. / This dissertation contains the critical edition of some 430 letters, written by Victor Gelu between 1843 and 1885. The author studies mainly the typology of the recipients.

Der Dialog über den Rhein hinweg handelt von Griechenland, und die komplette Übersetzung der platonischen Dialoge durch Victor Cousin ins Französische - nach dem Vorbild Schleiermachers in Deutschland - bildet den entscheidenen strategischen Einsatz auf dem Schlachtfeld der europäischen Philosophie.

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Thesis advisor: Boyd T. Coolman / The anonymous Speculum de mysteriis ecclesiae from the 12th century abbey of St. Victor has often been associated with the tradition of medieval liturgical commentaries, but this dissertation proposes reading it primarily as a general treatise on the spiritual life. Its unique Victorine emphasis on the combination of intellect and affect suggests a particular theology of the sign: the real ontological status of the sign relying not on Dionysian hierarchy but on ecclesial contemplation. Through the newly developed sacramental understanding of res et sacramentum, the Speculum suggests that signs have enduring value as signs that goes beyond their function as signifiers. The attainment of the signified, in other words, is only part of their gift. Their “sweetness” is found in an appreciation of their mode of signification — a signification that, the Speculum suggests, endures somehow even in heaven as a non-necessary gracious source of delight. That is, external and visible things in the Church have value not merely because they point us to particular invisible things (what the signs “mean”) but because they teach us the Church’s economy of grace. The Church, then, and her sacramental economy, are central not just to the practical life of individual salvation, but to the meaningfulness of all creation. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Les lecteurs de Victor Hugo s'accordent à penser qu'il est un regardeur. Mais de quel regardeur s'agit-il ? Pour ce poète qui voyage, l'action de voir constitue, plus qu'un goût, un principe esthétique et poétique. Si Hugo s'attache à un beau paysage, c'est en vue d'en faire resurgir ce qui, tout en échappant au regard, prend la forme d'une pensée. Pour le dire autrement, le réel visible est, pour lui, tant régi par la Vérité cachée qu'il ne cesse de mettre en jeu l'existence du sujet. L'évocation d'un paysage est en ce sens la véritable pierre de touche du sujet : le paysage représente, comme inévitablement, le moi qui essaie de participer aux réseaux de l'univers. C'est pourquoi notre étude avait pour objet en particulier les paysages du voyage et de la poésie, afin d'examiner un moi et des moi intertextuels chez Hugo. La relative rareté des études sur le je en voyageur s'explique par une tradition critique qui le considère comme une incarnation immédiate d'un moi unique de l'auteur. Toutefois, on ne saurait trop souligner que, malgré les apparences, le je dans les textes de voyage est protéiforme non moins que le je poétique. Cette thèse dont les réflexions s'articulent autour des regards hugoliens vise ainsi à montrer la complexité du moi de Hugo, et à apporter une lumière nouvelle sur ses poèmes lyriques / Victor Hugo's readers agree that he is a viewer. But what viewer is it? For this poet who travels, the action of seeing constitutes, more than a fondness, an aesthetic and poetic practice. If Hugo attaches to a beautiful landscape, it is in order to bring out the truth escaping the gaze. To put it another way, the visible reality is, for him, so governed by the hidden truth that it emphasise the existence of the subject. The evocation of a landscape is in this sense the true touchstone of the subject: the landscape represents, as inevitably, the ego that tries to participate in the principle of the universe. This is why our study was particularly concerned with landscapes of travel and poetry, in order to examine an ego or egos intertextual in Hugo. The relative rarity of the studies on the traveler is explained by a critical tradition which considers him an simple embodiment of an ego of the author. However, it can not be over-emphasized that, in spite of appearances, the I in the travel texts is protean no less than the poetic I. This thesis whose reflections are articulated around the Hugo's landscapes aims thus to show the complexity of the ego of Hugo, and to bring a new light on his lyrical poems