Le « clair-obscur », tirant son origine du terme italien « chiaroscuro », est considéré comme l’un des plus importants éléments dans l’art et la littérature. En examinant dans les tableaux la lumière et les ombres, deux composants opposés, les peintres ainsi que les critiques d’art du XVIIe et du XVIIIe siècles font preuve d’un grand enthousiasme de dévoiler leurs secrets. L’instauration de l’Académie, le grand débat sur le colorisme et la naissance de la critique d’art en France sont des occasions particulières pour approfondir leurs études du clair-obscur.Parmi les critiques d’art du XVIIIe siècle, c’est Diderot qui souligne les effets du clair-obscur dans ses Salons. Par rapport à d’autres salonniers contemporains, seul Diderot philosophe-écrivain expose ses propres idées esthétiques concernant le clair-obscur et transmet ses effets poétiques aux lecteurs, en suscitant de fortes « émotions ». Cette originalité littéraire des Salons contribue donc à l’évolution de la critique d’art des siècles suivants. / The « clair-obscur », from the Italian term « chiaroscuro », is considered one of the most important elements in art and literature. By examining the two opposing components of light and shadow in paintings, the painters and art critics in the seventeenth and eighteenth centuries show great enthusiasm about revealing their secrets. The establishment of “Academy”, the great discussion on coloration and the birth of art criticism in France are special opportunities for further study of chiaroscuro.Among the art critics of the eighteenth century, it is Diderot who emphasizes the effects of chiaroscuro in his Salons. Compared with other contemporary « salonniers », only Diderot as a philosopher and writer, exposes his own aesthetic ideas regarding chiaroscuro and passes on the poetic effects of this to his readers, arousing strong « emotions ». This literary originality of the Salons contributes thus to the development of art criticism in the following centuries.

Il existe un théâtre des pensées, un espace de création et de jeu où se révèle l’activité pensante. Dans leurs essais, Péguy, Valéry, Artaud et Michaux ont pratiqué un tel théâtre. Par-delà leurs différences, leurs pensées sont remarquables en ce qu’elles cherchent à se représenter à elles-mêmes à travers un modèle théâtral, lequel se configure au point d’intersection de trois théâtres. Le premier renvoie au théâtre réel du premier XXe siècle, qui voit se développer des expérimentations de mise en scène. Les lieux de spectacles et les milieux artistiques dans lesquels évoluent les quatre auteurs abordés participent à la diffusion de ces formes modernes de théâtralité, qui constituent de nouvelles possibilités de représentation dont s’imprègne leur imaginaire. Dans cet imaginaire se déploie un deuxième théâtre, théâtre intérieur auquel diverses voies – mystiques, poétiques (Baudelaire et Mallarmé) et philosophiques (Freud et Bergson) – donnent accès. Un troisième théâtre s’ouvre dans les textes, en se réalisant dans les formes et les valeurs de l’essai. La généalogie du genre, qui passe par Montaigne et Nietzsche, révèle comment, au cœur de l’écriture essayistique, interagissent théâtralisation des pensées et théâtralisation du texte. Une poïétique théâtrale se fonde que les quatre auteurs mettent en œuvre. Les pensées théâtralisées, faisant appel à des figures et des dispositifs qui rappellent ceux qui s’inventent sur les scènes modernes, sont mises en espace, en mouvement et en voix. Les textes veulent donner à voir ce théâtre des pensées où gestes, costumes, décors, éclairages, chœurs, etc., forment des compositions signifiantes. / There is such a thing as a theatre of the mind, a space for creation and play, in which the process of thinking is revealed. Péguy, Valéry, Artaud and Michaud have all experienced this in their essays. Beyond the differences that distinguish their works, their thinking processes are remarkable as they seek to reveal themselves through a model that finds its origin at the intersection of three forms of theatre. The first is the actual theatre of the early 20th Century, in which many experiments occur in the art of mise en scène. The stages and artistic settings in which these four authors evolve are vessels for the transmission of new and modern forms of theatricality ; they present the authors with new possibilities as far as performance is concerned, possibilities from which their minds take inspiration. On this inner stage of the mind, a second form of theatre unfolds to which various paths – mystical, poetic (Baudelaire and Mallarmé) and philosophical (Freud and Bergson) – give access. A third type of theatre can then be found in the four authors’ works, through the various shapes and values of essayistic writing. The genre’s genealogy, from Montaigne to Nietzsche, reveals, at its very core, an interaction between dramatizations of the mind and the text. In other words, a theatrical poietic emerges, which the four authors employ. The dramatized thoughts, calling on devices and mechanisms reminiscent of those being invented on modern stages, are put into place and pushed into movement, given a voice. The texts seek to show this theatre of the mind in which actions, costumes, décor, lighting, chorus, etc., intertwine, forming meaningful compositions

Cette thèse s'intéresse à la manière dont l'Oulipien Jacques Roubaud, tout en réécrivant des textes et des motifs venus du Moyen Âge, exhume aussi des pratiques littéraires de l'époque. En effet, tout au long de son œuvre, l'écrivain n'a de cesse d'avouer son penchant pour les lettres médiévales. Non content de publier, en qualité d'érudit, des essais sur la lyrique des troubadours ou le roman arthurien, il considère aussi les textes et les auteurs du Moyen Âge comme autant de modèles à sa propre posture. Il se reconnaît notamment dans cette conception de la littérature où l'originalité se jauge à l'aune, non pas de la pure nouveauté, mais de la récupération incessante du déjà-dit. L'écriture est toujours réécriture, adaptation et transmission d’œuvres anciennes, en un mot résolument médiéval, elle est toujours "translation". En recomposant la bibliothèque médiéval qu'arpente Jacques Roubaud au gré de ses écrits, ce travail cherche donc à cerner les mécanismes et les enjeux d'une réécriture à la lumière de la poétique médiévale. / This thesis examines how the Oulipian Jacques Roubaud, while rewriting texts and motifs from Middle Ages, also recaptures an ancient practice of literature. Indeed, throughout his work, Jacques Roubaud acknowledges medieval literature as an inspirational field. Not only does he publish, as a true scholar, several essays about troubadours and Arthurian romances, but also considers texts and writers of Middle Ages as examples to be followed for his own material. He seems to recognise himself in the medieval conception of literature, in which originality is not a matter of newness but consists in dealing with what has already been told. Writing is always about rewriting, adapting and passing old tales on, in a medieval word, writing is about "translatio". By reconstructing the old library that Jacques Roubaud paces, this study therefore analyses the numerous mechanisms of rewriting in the light of medieval poetic.

Title of the thesis: Poetics of Jacques Prévert's work of art and the exploitation of his poetry in a French language education. Keywords: poetics, French poetry, French chanson, poetic realism, surrealism, motivation Abstract: The aim of this thesis was to intercept and denote an artistic legacy in Jacques Prévert's work of art which has an overtime value and is capable with its themes of everyday life to also address the contemporary generations. The magic of Prévert's genius consists in his simple language that is spoken by common men, all the people use this language and thus, they could understand it well. A poet intensifies his legacy by series of examples and illustrations of everyday life that make his works accessible for everyone. In a thesis, we have primarily paid attention to the poetics of his large artistic creation by pointing on the particularity of his poetic language, the simplicity and accessibility of his work. Through Prévert's poetry and chanson, we have tried to present French language to teenage students in an inventive and creative way not only as a language itself, but also as a cultural heritage of the country. We elaborated pedagogical sheets in a practical part of a thesis aimed to serve as a methodological resource for the French language teachers.

The intention of the thesis is characterization of the innovative poetry, which appears in a composition named Altazor o el viaje en paracaídas by avant-garde poet Vicente Huidobro. In the beginning, I will focus on describing the situation, which anticipated the creation, partly I will present an author`s background and artistic circles, where he used to appear in. He was influenced significantly by francophone environment. Part of his work, including fragments of Altazor, was even written in french language. Consecutively I will describe the evolution of his literary creation to the moment of writing the Altazor. During this period Vicente Huidobro introduced his own literary movement - the creationism. I will subsequently compare fundamentals of the creationism with the ideas of the Spanish philosopher José Ortega y Gasset expressed in his essay named The Dehumanization of art. Here I will focus on describing the perception of literary creations at the time of writing both pieces and also I will outline characteristics of "new art". Then I will analyse the composition of the Altazor itself with regard to composition, language and themes. I will place the most emphasis on thematic analysis of the composition, where I will focus on usage of recurring motifs. In the language analysis I will explain...

No \"Só\", de António Nobre consideramos as evocações da memória como importante fonte de informação não somente sobre o sujeito poético, mas também sobre a cultura portuguesa do século XIX. Nelas, visualizamos as tradições, o cotidiano de homens que trabalhavam no mar ou na terra, a religiosidade do povo, a história e a paisagem, sobretudo a do norte do país, possibilitando a reconstrução poética de parte do Portugal de Oitocentos. Essa reconstrução poética, obviamente, foi determinada pela memória do sujeito poético, que ora apresenta imagens da criança doce e querida por amas, envolvido numa atmosfera de contos de fadas ou de visões paradisíacas do mundo que o cercava, ora dá a conhecer situações que envolvem o adulto angustiado diante das perdas inevitáveis da vida. Em ambos os casos, avultam (ou sobressaem) evocações impressionistas por meio de recursos sensoriais que sugerem o estado de alma de um ser que valorizou o que é ser português. A análise dos poemas pretende demonstrar como António Nobre constrói e desenvolve poeticamente as imagens da memória e o que delas decorre, ou seja, como trabalha com as evocações, enumerações descritivas, hipotiposes, etc., de modo a constituir a imagem de um sujeito poético apegado à sua terra natal e a imagem da própria terra, representada por aquilo que julga mais típico dela. É esse o objetivo desse trabalho. / In the \"Só\", by António Nobre we considered the evocations of the memory as important source of information not only on the poetic subject, but also on the Portuguese culture of the century XIX. In them, we visualized the traditions, the daily of men that worked in the sea or in the earth, the religiosity of the people, the history and the landscape, above all the one of the north of the country, facilitating the poetic reconstruction of part of Portugal Eight hundred. That poetic reconstruction, obviously, it was determined by the poetic subject\'s memory, that prays it presents the sweet child\'s images and wanted by owners, involved in an atmosphere of stories of fairies or of paradisiac visions of the world that it surrounded it, for now gives to know situations that involve the adult before the inevitable losses of the life. In both cases, increase (or they stand out) impressionist evocations by means of sensorial resources that suggest the soul state of a to be that valued what is to be Portuguese. The analysis of the poems intends to demonstrate as Noble António it builds and it develops in a poetic way the images of the memory and the one that elapses of them, that is to say, as its works with the evocations, descriptive enumerations, hipotiposes, etc., in way to constitute the image of an attached poetic subject to its homeland and the image of the own earth, represented by that that judges more typical of her. It is that the objective of that work.

Esta dissertação de mestrado tem como objeto a edição genética de A gramatiquinha da fala brasileira obra inacabada e inédita pertencente à série Manuscritos Mário de Andrade, no arquivo do escritor, no patrimônio do Instituto de Estudos Brasileiros da Universidade de São Paulo. Apresentando a obra em fac-símile, esta Edição genética dA gramatiquinha da fala brasileira de Mário de Andrade, inscrita no Programa de Pós-Graduação em Literatura Brasileira da FFLCH-USP, é resultado do projeto temático FAPESP/ IEB e FFLCH-USP, Estudo do processo de criação de Mário de Andrade nos manuscritos de seu arquivo, em sua correspondência, em sua marginália em suas leituras, coordenado, entre 2006-20011, pela Profa. Dra. Telê Ancona Lopez. A partir da análise documental e escritural, à luz da arquivística, da codicologia e da crítica genética, buscou-se compreender a materialidade do dossiê genético e a sistematização, operada por Mário de Andrade, das constâncias da língua portuguesa falada no Brasil. / This dissertation had as object The genetic edition of The little grammar of spoken Brazilian-Portuguese, the unfinished and unpublished manuscripts belonging to the series Mário de Andrade, in the writers file at the patrimony of the Institute for Brazilian Studies, University of São Paulo (IEB/USP). Featuring the work in fac-simile, this edition enrolled the Graduation Program in Brazilian Literature at FFLCH-USP, is a result of the thematic project FAPESP/ IEB/FFLCH-USP Mário de Andrades creative process study: in his manuscripts in his file, his correspondence, in his marginalia in his readings, coordinated between 2006-2011, by professor Telê Ancona Lopez. Based on documentary analysis and scriptural of archivistics, the codicology and genetic criticism, we sought to understand the materiality of genetic dossier and systematization operated by Mário de Andrade, constancies of the Portuguese language spoken in Brazil.

osso objetivo, nesta dissertação, é analisar a poética de um século, a do XVI, e a poética de um autor, a de Herberto Helder. Trata-se de produções artísticas que se assemelham, pois, por motivos distintos, privilegiam o processo de criação poética, a obra inacabada, em detrimento ao produto final, a obra acabada. Ao mesmo tempo, demonstraremos que as categorias vigentes no imaginário do senso comum são insuficientes para explicitar poéticas, como estas, moventes. Enquanto obra em processo, constataremos que a produção quinhentista, sendo meio de comunicação social, caracteriza-se pela profusão de variantes, ao passo que a poética herbertiana caracteriza-se pela adoção de um princípio cosmológico: o devir. Pela adesão a este princípio, os poemas herbertianos são concebidos enquanto corpos, passíveis de transmutação e, concomitantemente, desencadeadores de transmutação. A poética herbertiana, ao eleger o devir como fundamento universal do existente, aparece em consonância com as filosofias da imanência e da materialidade da comunicação que, por sua vez, desempenham um papel significativo na cena do pensamento contemporâneo. / Our objective, at this dissertation, is to analyze the poetry of a century, the sixteenth, and the poetry of an author, of Herberto Helder. These are artistic productions similar because, for different reasons, favour the process of creating poetry, the unfinished work, in detriment to the final product, the finished work. At the same time, we´ll demonstrate that the existing categories in the imaginary of the common sense are insufficient to explain poetics, as these, moving. As work in process, we´ll evidence that the production of the sixteenth century, and means of social communication, characterizes by the proliferation of variants, while the poetry of Herberto Helder is characterized for the election adoption of a cosmological principle: the becoming. By the adhesion to this principle, the poems of Herberto Helder are considered as bodies, susceptible to the transmutation and, concomitantly, agents of transmutation. The poetic of Herberto Helder, to elect the becoming as existing universal basis, appears in accord with the philosophies of immanence and the materiality of communication which, in turn, play a important role in the scene of contemporary thought.

A dissertação investiga a escritura formativa, simultaneamente, como processo de criação e como processo formativo. Para tanto, se lastreia num enfoque autobiográfico com base no ensaio (Larossa, 2006) amplamente matizado pela obra poética da pesquisadora, num diálogo intenso com pensadores, escritores e escritoras que têm a palavra como universo de investigação e criação artística, entre eles a perspectiva fenomenológica de Gaston Bachelard, a hermenêutico-simbólica de Ferreira-Santos (1998, 2004 e outros), Ferreira-Santos e Almeida (2001 e 2012), Loureiro (2008), Willms (2013) e Rubira (2006 e 2015), bem como a dos poetas da terra Guimarães Rosa e Manoel de Barros, e das poetisas das águas Neide Arcanjo e Clarice Lispector. A investigação poética durante o próprio processo (in process) explicita as dificuldades, os obstáculos, impasses, bem como a rica produção escrita e poética derivada desse processo, mais como registro do que como produto. Tal estilo investigativo, incomum aos modelos tradicionais de pesquisa acadêmica, ainda lastreados por uma lógica aristotélica e um pensamento cartesiano, linear e previdente, apresenta-se, no desdobramento e na investigação imagética, nas metáforas da palavra com o barro, a ostra, a canoa, o rio e o mar, cotejando a travessia como grande metáfora formativa. Com originalidade de estilo, esta investigação da escrita de si tenta contribuir com os processos de formação inicial de professores, tanto na especificidade do campo da literatura como da educação em geral que façam uso da escrita de forma ensaística e autoral como criação artística e de si e das artes no cotejamento da alteridade. / The dissertation investigates the formative writing simultaneously as creative and as formative process. Therefore, the background of this research is an autobiographical approach from essay (Larossa, 2006) largely tinted by the researchers poetic work in an intense dialogue with thinkers, writers and woman writers who has the word as research and artistic creation universe, including the phenomenological perspective of Gaston Bachelard, hermeneutic-symbolic of Ferreira-Santos (1998, 2004 and others), Ferreira-Santos and Almeida (2001 and 2012), Loureiro (2008), Willms (2013) and Rubira (2006 and 2015) and poets of the earth Guimarães Rosa and Manoel de Barros and poets of water Neide Arcanjo and Clarice Lispector. The poetic research during the process itself (in process) explains the difficulties, obstacles, hesitations and rich writing and poetic derived from production process, more like record than as a product. Such unusual investigative style to traditional models of academic research also backed by an Aristotelian logic and Cartesian thought, linear and thoughtful; presents itself in the unfolding investigation and imagery in word metaphors with clay, the shell, the canoe, the river and the sea, comparing the crossing as a major formative metaphor. With stylish originality, this research writing himself, tries to contribute to the initial training process of teachers in both the specificity of the field of literature and education in general to make use of writing of essays and authorial how artistic creation and himself and the arts like form to understand the alterity.

O que, em uma grande metrópole, possui força suficiente para se tornar uma experiência poética para aqueles que nela constroem sua biografia ou, ao menos, vivenciam-na por algum intervalo de tempo? Tal questionamento segue presente em toda esta dissertação, que se propôs a investigar o que é a poética urbana, e como ela se apresenta para algumas pessoas em São Paulo. Contudo, um campo mais específico foi delimitado: as discussões buscaram a poética urbana da Avenida Paulista eleita como símbolo da cidade a partir do olhar dos artistas que nela trabalham. Para a discussão, parte-se das considerações sobre a urbanidade moderna e caótica, do progresso desenfreado, que impõe à força, diariamente, experiências de violência e desrespeito aos seus habitantes; contudo, em seguida, convida-se à reflexão acerca da cidade como objeto do afeto de seus cidadãos. O que se propõe é a poética urbana como uma das mediações possíveis entre duas vivências que, inicialmente, parecem tão diferentes. Na elaboração do conceito da poética urbana buscou-se uma reflexão sobre como a subjetividade de uma experiência poética relacionada ao homem que conhece a si e aos demais entes a partir de sua presença no mundo e sua relação intencional com aquilo que o circunscreve se vincula às limitadoras imposições da cultura, dificultando as ações imaginativas e práticas do homem criativo. Para se compreender em profundidade o campo, o histórico da via foi discutido, desde sua fundação até os dias contemporâneos; assim como a sua relação com o trabalho informal, no qual os artistas se inserem. Com tais temas propostos, a partir de incursões etnográficas em campo, sete artistas foram convidados a narrarem suas experiências pessoais, compartilhando-as com o pesquisador. As discussões sobre as narrativas seguem o caminho em busca de ver como a Avenida é vivida no cotidiano, e também como representações simbólicas são construídas e destruídas a partir de tal prática. O trabalho culmina na discussão sobre aquilo que foi apresentado como poética urbana da Avenida Paulista as pessoas que a frequentam buscando compreender como a força poética se relaciona com a liberdade da imaginação e com os discursos hegemônicos de nossa cultura urbana. / What does have enough strength, in a great metropolis, to become a poetic experience for those who build in there your biography or, at least, experience it for an interval of time? This question is present throughout this dissertation, which set out to investigate what is the urban poetic, and how it presents itself to some people in São Paulo. Although, a more specific field was limited: the discussions sought the urban poetic of Avenida Paulista (Paulista Avenue) elected as a symbol of the city through the eyes of the artists who work there. This discussion starts considering the chaotic modern urbanity and the unbridled progress, which throws to their inhabitants daily experiences of violence and disrespect. However, the reader is also invited to reflect about the city as an object of affection of their citizens. What is proposed is the urban poetic as a possible mediation between the two experiences that initially seems so different. To develop the concept of urban poetic, was aimed a reflection about how the subjectivity of a poetic experience related to the mankind who knows themselves and the others from their presence in the world and their intentional relations is associated to the limiting constraints of culture, that hinder the imaginative actions and practices of creative man. To understand in depth the field, the history of the Avenue was discussed, since its founding days until the present, as well as its relation with the informal work, in which the artists interviewed are included. With these proposed themes, from ethnographic field studies, seven artists were invited to narrate their personals experiences, sharing them with the researcher. The discussions about these narratives seek to see how the Avenue is daily lived, as well as how symbolic representations are built and destroyed from this practice. This work culminates in the discussion about what was presented as urban poetic in Avenida Paulista the people in there aiming to understand how the poetic strength relates to the freedom of the imagination and to the hegemonic discourses of our urban culture.