Este estudo visa sondar a presença de autores franceses setecentistas ligados às Lumières no universo das crônicas de Machado de Assis. Popularizados, sobretudo, graças à imprensa, força motriz na disseminação do conhecimento no início do século XIX, Voltaire, Rousseau e Diderot, destituídos da aura de grandes filósofos, integram-se facilmente na esfera do folhetim. Ali, obras, temas e princípios criados por eles (já decantados pela cultura popular e tornados clichês, axiomas e ditos) agregam sentidos, ampliam a compreensão do elemento local, concorrem para a característica irônicochistosa do gênero e sedimentam a relação Brasil-França através da poética intertextual, traço profundo da escrita machadiana, cuja pluralidade de vozes fez da crônica um diálogo particular entre os dois países. A crítica moderna nos adverte quanto ao maniqueísmo da esquematização, ressaltando o lado arbitrário de toda periodização. Nota-se, contudo, que ao olhar o passado recente na tentativa de compreender o século XVIII, os homens do XIX retomaram em parte imagens herdadas da autorrepresentação daquele que foi o século da audácia crìtica, de maneira que se pode isolar o século XVIII, pois, mitificado, impõe-se ainda como identidade específica, irradiando a cultura francesa através de Voltaire, Rousseau e Diderot, seus exponenciais mitos mobilizadores. / This study aims, above all, at scrutinizing the presence of French writers from the eighteenth century, related to the Lumières, in the universe of Machado de Assis\'s chronicles. Popular, especially due to the press driving force in the dissemination of knowledge in the beginning of the nineteenth century Voltaire, Rousseau and Diderot, destitute of the great philosophers aura, easily fit into the universe of the broadsheet, where works, themes and principles created by them (which no longer enchanted the popular culture and had become clichés, axioms and sayings) were able to attribute meanings, broaden the understanding of the local element, compete for the mockingironic characteristic of the genre and strenghten the Brazil-French relationship through intertextual poetics deep feature of Machados writings, whose plurality of voices turned the chronicles into a particular dialogue between the two countries. Modern criticism advises us about the manichaeism of scheming, by highlighting the arbitrarity side of periodization. However, by looking at the recent past while trying to understand the eighteenth century, it is possible to notice that those men from the nineteenth century resumed, in part, the images inherited from the selfrepresentation of the century which was the time for the critical audacity, so as that one can isolate the eighteenth century, since, mythified, it also imposes itself as a specific identity, irradiating the French culture through Voltaire, Rousseau and Diderot, its exponential moving myths.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Este trabalho tem como tema principal o estudo da presença de Voltaire nas crônicas machadianas através do intertexto como aporte teórico. Na obra jornalística de Machado de Assis verificou-se que era grande a recorrência a Voltaire, merecendo, portanto, um estudo mais aprofundado. Foram feitas análises críticas de 23 crônicas, nas quais se verificou que, em algumas delas, os elementos intertextuais - a citação, a referência ou alusão, acomodam-se ao novo texto, em benefício da ironia que o cronista procurava imprimir à situação. Em outras, no entanto, atuam completando, alterando ou ainda modificando inteiramente o novo texto, em processo que, se por um lado demonstra a extensão das leituras do cronista, por outro, redireciona o leitor, descortinando-lhe um novo horizonte intelectual e cultural ao tomar conhecimento da obra citada ou referenciada, ou, para aquele leitor com ela familiarizado, reescrevendo-a. / The main topic of this paper is the study of Voltaires influence in Machado de Assis chronicles by means of intertextuality as the theoretical framework. This influence can also be seen in Machados journalistic work, and we believe that deserved to be dealt with in more detail. Twenty three chronicles were analyzed and it was noticed that in some of them, intertextual elements like quotations, references or allusions molded the new text favoring the irony the writer meant to imply. In others, however, these elements alter or even entirely modify the new text in a process that shows, on the one hand, the extension of Machados reading, and on the other, the way he leads the reader to a new intellectual and cultural horizon the very moment he gets in touch with the works mentioned or referred to. For the reader who was already familiar with Voltaires work, there was the possibility of a new understanding of it.

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Cette thèse se propose d’étudier les contes en vers au XVIIIème siècle, production foisonnante et féconde mais qui n’a jamais fait l’objet d’une analyse d’ensemble. Véritable phénomène de mode, comme le conte de fées qui le précède, le conte en vers est pratiqué par les auteurs reconnus, à l’image de Voltaire, comme par les plumes de second ordre, tel Grécourt, l’auteur le plus prolifique du temps. Genre marginal non codifié par les théoriciens et décrié par les tenants de l’orthodoxie littéraire, le récit versifié, qui relève de la poésie fugitive, se présente comme une émanation directe de l’art de la conversation si prisé à l’époque qu’il impose des thèmes aux écrivains et modèle la poétique des textes. Oscillant entre divertissement mondain et genre littéraire à part entière, témoignant de la crise de la poésie au siècle des Lumières, le conte en vers incarne la recherche d’une nouvelle voie poétique empreinte d’humilité, de légèreté et de simplicité et récusant la gravité et le sublime. Notre travail, qui se limite aux textes imprimés, adopte successivement trois perspectives : sociologique, historique et générique. Poésie de société, création collective et sérielle, le conte manifeste le goût du persiflage et du badinage propre à l’époque. L’approche diachronique vise quant à elle à éclairer les temps forts de la vogue du conte de 1715 à la Révolution mais aussi à dégager une continuité transhistorique en déterminant les sources ainsi que la postérité du genre. Le conte est enfin envisagé dans son rapport aux autres genres qu’il se plaît à imiter et à détourner. Libertin par sa philosophie, le conte l’est surtout par son écriture allusive et subversive. / This thesis means to study the 18th century verse tale, a rich and diverse work which has never been the subject of an overall analysis. A real fashion phenomenon, just like the fairy tale that preceded it, the verse tale was practiced by well-known authors (Voltaire) as well as second rate writers such as Grécourt, the most prolific. The narrative put into verse was a minor genre with no code which was disparaged by the supporters of literary orthodoxy. It falls within the province of transient poetry and comes straight from the art of conversation, which was so highly prized at the time that it imposed themes on writers and shaped the poetics of the texts. Between refined entertainment and fully-fledged literary genre, the verse tale, which underlines the crisis poetry was going through at the Age of the Enlightenment, embodies the search for a new poetic way marked by humility, lightness and simplicity and objecting to solemnity and the sublime. Our work, which is limited to printed texts, adopts three different angles: successively, the sociological, historical and generic angles. Tales, which are society poems and collective and serial works, are an indication of the taste for mockery and banter characteristic of this time. As for the diachronic approach, it aims at throwing light on the peaks of the vogue for tales from 1715 to the Revolution but also at bringing out a transhistoric continuity by establishing the origins as well as the posterity of the genre. Tales are also viewed in connection with the other genres it delights in imitating and twisting. They are libertine because of their philosophy but above all because of their allusive and subversive writing.

L’invention du mythe casanovien se fonde sur l’occultation de l’écrivain : elle entre en contradiction avec une ambition poursuivie pendant plusieurs décennies par le Vénitien, à la faveur d’une œuvre polygraphique. Dans un siècle où la condition des « gens de lettres » subit des transformations cruciales, Casanova échappe pour l’essentiel aux instances de légitimation. L’échec de la reconnaissance n’est pas étranger aux contradictions dont il investit la figure de l’écrivain. Cette étude interroge plus spécifiquement son rapport à la notion d’auteur, envisagée sous les deux pôles de l’auctorialité et de l’autorité. Entre « refus des conséquences » et « inconséquence », l’auteur s’élabore sous sa plume comme une instance labile et fuyante. Nous nous sommes intéressée aux logiques permettant de rendre compte de cette instabilité. Les habitudes de lecteur de Casanova comme ses pratiques d’écriture révèlent en outre un écrivain travaillé par une conception stratégique de la littérature. Nous avons cherché à explorer ces stratégies d’écriture et à en mesurer les effets dans le corpus philosophique et autobiographique. À sa manière, depuis la marge, Casanova est un miroir des paradoxes et des ambiguïtés de son temps : son œuvre offre un point de vue singulier sur l’évolution des sensibilités et des esthétiques, ainsi que sur les bouleversements qui affectent, au cours du siècle, le statut des écrivains, leurs relations avec les autorités ou avec le public. / The invention of the Casanovian myth is based on the writer's occultation. It contradicts an ambition pursued for several decades by the Venetian. In a time when the condition of the “man of letters” is undergoing crucial transformations, Casanova’s successive attempts to achieve recognition in various literary genres were not successful. This study more specifically questions his relationship with the notion of author, considered under the two poles of auctoriality and authority. Between the "refusal of consequences" and "inconsistency", the author appears, in Casanova’s works, as a labile and evasive instance. The instability of his positions is linked to tactical constraints and epistemological biases, but also to a playful and theatrical conception of existence. Casanova's reading habits and writing practices reveal a writer haunted by a strategic conception of literature. The study focuses on these writing strategies, both in the philosophical and autobiographical works, and aims to understand their effects. Long marginalized, Casanova's work offers nevertheless a unique perspective on the evolution of sensibilities and aesthetics over the century, as well as on the upheavals that affect the status of writers, their relationship with the authorities or with the "public".

A thèse est consacrée à l’examen de l’image de la Chine en France au siècle des Lumières et au dialogue entre deux civilisations, orientale et occidentale. L’analyse des œuvres littéraires, philosophiques et historiques, ainsi que des documents d’archives fait découvrir l’engouement pour la Chine au siècle des Lumières, les raisons pour lesquelles Voltaire et Montesquieu s’intéressent à ce pays lointain, le rôle des missionnaires catholiques en Chine à cette époque. Les penseurs français ne se contentent pas de consacrer leurs ouvrages à la philosophe et à la civilisation chinoise, ils proposent des mesures concrètes pour mettre en application leurs idées. Dans ce dialogue paradoxal ils inventent la Chine pour changer la France. Cette recherche a pour but de comparer des approches philosophiques françaises et chinoises pour comprendre, comment la diffusion de la philosophie de Confucius en Europe sert le développement des idées d’indépendance et de libre pensée. / The thesis is devoted to the examination of the image of China in France in the Enlightenment and dialogue between two civilizations, East and West. The analysis of literary, philosophical and historical and archival documents to discover the enthusiasm for China in the Enlightenment, why Voltaire and Montesquieu interested in this distant country, the role of missionaries Catholics in China at that time. The French thinkers do not just dedicate their works to the philosopher and Chinese civilization, they propose concrete measures to implement their ideas. In this paradoxical dialogue they invent China to change France.This research aims to compare French and Chinese philosophical approaches to understand how the dissemination of the philosophy of Confucius in Europe is the development of ideas of independence and free thought.

Le Temple de la Gloire fut commandé par la cour à Voltaire et à Rameau pour célébrer le retour du roi, victorieux à Fontenoy. Créé en 1745 à Versailles, il fut repris aussitôt à Paris en décembre. Retiré après son échec public et critique, il fut considérablement remanié, recréé à Paris en avril 1746, puis oublié, même si beaucoup de ses morceaux ont été réutilisés. Il demeure l’unique opéra de Voltaire a avoir été représenté à l’Académie royale de musique. Ce travail propose une double édition critique du livret et de la musique des deux versions de 1745 et de 1746. Il fait l’histoire de l’oeuvre de 1745 à nos jours (I), en retrace la genèse (II), et en évalue la portée esthétique (III), qui est originale. Voltaire, loin de flagorner, y érige en modèle non le roi conquérant, mais celui qui fait le bonheur du peuple. Il se propose pour cela, en 1745, d’étendre sa réforme dramatique (moins d’amour, plus de spectacle, sérieux métastasien) à l’opéra. Mais finit, en 1746, par céder à Rameau, aux codes de l’Académie royale de musique et à son public / The court commissioned Voltaire and Rameau to write Le Temple de la Gloire in celebration of the king’s victorious return from Fontenoy. Premiered in Versailles in 1745, restaged in Paris in December, the opera closed down after its critical and box-office failure. It was considerably reworked, restaged in Paris in April 1746, and then forgotten, although many of its pieces were reused in other works. It is the only Voltaire opera staged at the Royal Academy of Music. This study consists of a double critical edition of the libretto and music of the two versions, from 1745 and 1746. It traces the history of the work from 1745 to the present day (Chapter 1), discusses it genetically (Chapter 2), and analyzes its esthetic reach (Chapter 3), which is considerable. Voltaire is not a courtly flatterer here ; he does not present a model of the conquering king, but rather one of a king who makes the people happy. Thus, in 1745, Voltaire extends his dramatic reforms to opera (less love, more entertainment, Metastasian gravitas). But in the end, in 1746, he gives into Rameau, to the Royal Academy of music’s protocol, and to his audience

The author's Habilitationsschrift--Universität München. / Includes indexes. Includes bibliographical references (p. [213]-223).

La thèse étudie les traductions en grec moderne de deux œuvres du mouvement des Lumières françaises. Elle explore les Lumières néohelléniques et appréhende les principaux points de l’idéologie de ce mouvement en relation avec le contexte socioculturel et historique du monde grécophone, afin de présenter les facteurs qui donnent naissance à la « question de la langue » et d’établir les conditions qui influent sur l’art de la traduction et sur la langue utilisés à l’époque. Les relations idéologiques du mouvement des Lumières néohelléniques avec l’œuvre de Montesquieu et de Voltaire et leur réception sont également explorées. Il est question de l’art de la traduction en même temps que de la langue utilisée dans le monde grécophone au XIXe siècle, dans une approche méthodologique originale. L’étude contrastée de la question de la langue avec l’univers idéologique de chaque type d’expression langagière, ainsi que la présentation pragmatologique des œuvres étudiées permettent d’étayer la relation des choix linguistiques avec le contexte socioculturel de leur apparition. L’étude conclut sur la présentation d’un travail à vocation lexicologique où les vocables sont interrogés sous un angle diachronique, et à partir du texte français, les traductions de deux œuvres sont analysées depuis le XIXème siècle jusqu’à l’âge contemporain. L’évolution sémantique des termes recherchés est présentée dans un souci de précision, à partir d’un corpus conséquent, mobilisant des sources primaires et des dictionnaires du XVIIIème au XXIème siècle. Ce travail permet de dégager des conclusions sur la langue, valables pour l’appréhension de l’évolution du vocabulaire néohellénique dans son ensemble. / The thesis studies the translations into Modern Greek of two works of the French Enlightenment. It examines the ideological hallmarks of the Greek Enlightenment in light of the sociocultural reality of the Greek-speaking world, in order to elucidate the origins of the language controversy as well as the various forces shaping translations and language at that time. It also explores the ideological affinities between Montesquieu, Voltaire and the Greek Enlightenment, as well as the reception of the two writers in Greece. The art of translation is separately analyzed and discussed, as is language as key to a novel methodological approach towards translation in the Greek-speaking world of the 19th century. Throughout the thesis, linguistic matters are addressed against the backdrop of ideological developments. The approach to the individual works is intended to reveal the linguistic choices that were made, how these affected the lexicological development of the language, and the sociocultural context in which this occurred. The thesis concludes with an extensive lexicological analysis of terms found in the corpus, predicated on a comparison of the different translations of the two works in question, from the 19th century to the present. The semantic evolution of the terms studied is traced in detail, using a wide range of literary sources and dictionaries, going back to the 1700s. Based on this historical cultural and lexicological groundwork, a number of conclusions are drawn. In the end, this study of the language and vocabulary reveals certain tendencies and, more generally, sheds new light on the dynamics and advancement of the Modern Greek lexicon as a whole.