L’objet de notre étude est l’analyse du discours didascalique du poète et dramaturge espagnol, Federico García Lorca. Trois pièces constituent notre champ d’investigation : Bodas de sangre, Yerma et La casa de Bernarda Alba. Les didascalies, en tant que discours émanant de la voix auctoriale, ont fait l’objet de nombreuses recherches et publications depuis l’essor de la linguistique de l’énonciation et de l’analyse du discours dramatique. Ce travail propose une poétique singulière des didascalies et démontre qu’elles forment un code sémiotique particulier, stratégique et poétique au sein du discours théâtral lorquien : loin de ne constituer qu’un péritexte fonctionnel qui se limite à accompagner et à préciser les conditions de mise en scène du discours entre personnages, elles représentent le véritable centre névralgique du théâtre poétique de Lorca. Elles participent pleinement de la construction du sens profond de l’œuvre et livrent des clés interprétatives essentielles fonctionnant à différents niveaux de lecture et de réception théâtrale. La lecture de certaines didascalies représente un véritable plaisir pour le spectalecteur. Elles peuvent être considérées dans une perspective poétique et interprétées dans la matérialité même de leur signe linguistique comme des supports textuels et phoniques. Elles demeurent dans la plupart des cas l’apanage du lecteur car, renversement paradoxal, le metteur en scène est souvent dans l’impossibilité de les représenter totalement sur scène. Ces didascalies correspondent à la première phase de ce travail et sont nommées didascalire. D’autres didascalies concernent d’une façon plus concrète et pratique les détails de la future mise en scène et possèdent une fonction performative et conative. Elles ne sont plus textuelles : le message originel se transforme en d’autres systèmes de signes. Elles font l’objet de la seconde phase de cette étude et sont appelées didascascène. Les parties liminaires (titres – sous-titres et dramatis personae par exemples), les nuances chromatiques et les indications spatio-temporelles, sont revêtues d’une valeur prophétique et d’une portée métathéâtrale : elles portent en germe tous les éléments de l’œuvre et élaborent une réflexion sur le théâtre lui-même. Lorca, dans cette partition didascalique compose une poétique du silence révélant les sentiments profonds des différents personnages de la trilogie. Les didascalies sont le souffle et la respiration du texte qui prend corps et vie devant nos yeux : leur déchiffrement permet d’accéder aux arcanes de l’œuvre. / The aim of this study is to analyse Garcia Lorca's poetic and dramatic use of stage directions with special reference to three plays : Bodas de Sangre , Yerma and La casa de Bernada Alba .There is no denying that since the birth of enunciative linguistics and drama speech analysis, a lot of in-depth research publications have been devoted to stage directions as reverberations of the author's voice . This study will offer a poetic reading of Lorca's stage directions and aim at demonstrating that the latter contribute to creating a specific semiotic code with both a strategic and poetic intent within Lorca's dramatic speech. Far from being a mere functional peritext only meant to organise and set up the staging of discourse between the characters, Lorca's stage directions embody the nerve centre of his poetic drama. They play an active part in building up the innermost meaning of his works, and offer essential keys for interpretation at various levels of reading and theatrical reception. Reading some of these stage directions is a source of enjoyment for the viewer-reader . If we consider them as mere linguistic signs, they can indeed be interpreted in a poetical perspective as text aids through their sound effects when spoken aloud. Yet ,they are restricted to the reader's exclusive benefit as , paradoxically enough, the stage director is very often unable to stage them in their entirety , even by summoning all the senses . These stage directions, analysed in the first phase of this study, can be labelled as 'reading directions '. The other kind of stage directions consists of the more concrete and physical details that can help organise the futur staging of the play. They have an action-inducing and conative function and , as such, are not textual - the author's original message being coded into another system of signs - These 'staging directions' are the focus of the second part of this study. The preliminary parts ( titles, subtitles and dramatis personae for instance), the varied hues, space and time indications are endowed with a metadrama and prophetical value. Indeed, they carry the seeds of all the main characteristics of Lorca's works and weave thoughts about the very essence of drama. By turning his stage directions into a real musical score, Lorca composes a poetry of silence revealing the innermost feelings of the various characters present in the trilogy. The stage directions breathe life into the text , which takes on flesh and blood under our eyes. Deciphering them enables the reader to lift the veil on the mysteries of Lorca's works.

Made available in DSpace on 2016-08-10T11:07:30Z (GMT). No. of bitstreams: 1 MARIA APARECIDA FERREIRA GONZAGA.pdf: 688141 bytes, checksum: 0f45323d10a2a750e4421344fefdffb5 (MD5) Previous issue date: 2009-09-29 / This paper is a review of the book Perau, writer Carlos Fernando de Magalhães Filgueiras. This study proposes an analysis of the poetic act marked by lush imagery and manipulation of the word, remaining the fascination of his poetry, which consists of two chains that go hand in hand and inextricably linked: a reflection on the being and the poetic discourse. On these issues, excelling the poetic discourse, the creator of Perau constructs his work as a good weaver, uniting wireless interactions with poetic images, expressive tone and a symbolic process in a flexible and innovative polyphony which brings the memory works by inserting it into a plot in which the lyrical being lives new experiences, sometimes with a desire for changes, sometimes with memories of his childhood and the desire to see the non-visible. / Este trabalho constitui uma análise do livro Perau, do escritor Carlos Fernando Filgueiras de Magalhães. Esta obra é assinalada pela exuberância imagética e manipulação da palavra prevalecendo o fascínio de seu fazer poético, que é formado por duas correntes que seguem lado a lado e intrinsecamente ligadas: a reflexão sobre o ser e o discurso poético. Nessas correntes, primando pelo discurso poético, o criador de Perau constrói sua obra, como um bom tecelão, unindo o fio poético com interações de sons, imagens, tom expressivo e um processo simbólico com flexibilidade e polifonia inovadora que traz em si os trabalhos da memória inserindo-a em uma trama em que o ser lírico vive novas experiências; ora com anseios de mudanças, ora com recordações da sua infância e o desejo de ver o não-visível.

Em virtude de representações por vezes pouco favoráveis dos gêneros poéticos no ambiente escolar, os enunciados pertencentes a esses gêneros são marginalizados em sala de aula, ocupando um espaço exíguo nas atividades de leitura e mais reduzido ainda nas atividades de escrita. Mesmo que essa seja a realidade dominante na escola, propostas para o ensino dos gêneros poéticos têm despertado interesse dos alunos quando apresentados de forma a não singularizar o estudo do poema. Assim, buscando compreender como ocorrem e qual a estrutura das episódicas propostas com o texto poético, neste trabalho, analiso o material que envolve o Prêmio Escrevendo o Futuro - da apresentação da proposta aos professores até a etapa de escolha dos finalistas (capítulo 1). Embora o Prêmio tenha alcançado o território nacional, o corpus analisado no capítulo 2 está circunscrito ao Pólo São Paulo, composto por nove poemas de várias cidades do Estado de São Paulo. O material analisado se estrutura em sequências didáticas, segundo as concepções de trabalho com os gêneros de Schneuwly e Dolz (2004), suporte teórico de minha pesquisa ao lado de Bakhtin (1976; 2003); Jolibert (1994, 1994a, 2008) e Bazerman (2005; 2006 e 2007). O objetivo do trabalho é 1) indicar quais as representações presentes no espaço escolar; 2) verificar como o ensino dos gêneros poéticos se apresenta nessa proposta; 3) apresentar, por meio da reflexão teórica, representações plurais dos gêneros poéticos que possam indicar caminhos possíveis de serem aplicados como no caso do Prêmio em diferentes contextos, implicando novos lugares para o professor e para os alunos, em novos papéis. / Unflattering representations of the poetic genre among primary and secondary school teachers often translate into a secondary place for poetry in the classroom. Seldom an object for reading activities, it is even more rarely used as a source for those of writing. In spite of that, students respond enthusiastically to the odd projects and activities which do offer to go beyond the study of individual poems. This dissertation focuses on one such project: the Escrevendo o Futuro Award, examining it from its presentation to teachers to the selection of candidates for the final round (chapter 1). Although the EF Award is a national competition, all the nine poems which constitute the corpus analyzed in chapter 2 come from the State of São Paulo. The material analyzed is structured in didactic sequences. The theoretical framework for such analysis draws on the works of Schneuwly e Dolz (2004), Bakhtin (1976; 2003); Jolibert (1994, 1994a, 2008) and Bazerman (2005; 2006 e 2007). The goals of this dissertation are: 1) identifying various representations of the poetic in primary and secondary schools; 2) examining the place poetry has in this context; 3) offering, based on a critique of the scholarly research on the field, alternative, plural possibilities of representation of the poetic genres which may lead to new roles for teachers and students vis-à-vis their working with poetry in the classroom.

Em virtude de representações por vezes pouco favoráveis dos gêneros poéticos no ambiente escolar, os enunciados pertencentes a esses gêneros são marginalizados em sala de aula, ocupando um espaço exíguo nas atividades de leitura e mais reduzido ainda nas atividades de escrita. Mesmo que essa seja a realidade dominante na escola, propostas para o ensino dos gêneros poéticos têm despertado interesse dos alunos quando apresentados de forma a não singularizar o estudo do poema. Assim, buscando compreender como ocorrem e qual a estrutura das episódicas propostas com o texto poético, neste trabalho, analiso o material que envolve o Prêmio Escrevendo o Futuro - da apresentação da proposta aos professores até a etapa de escolha dos finalistas (capítulo 1). Embora o Prêmio tenha alcançado o território nacional, o corpus analisado no capítulo 2 está circunscrito ao Pólo São Paulo, composto por nove poemas de várias cidades do Estado de São Paulo. O material analisado se estrutura em sequências didáticas, segundo as concepções de trabalho com os gêneros de Schneuwly e Dolz (2004), suporte teórico de minha pesquisa ao lado de Bakhtin (1976; 2003); Jolibert (1994, 1994a, 2008) e Bazerman (2005; 2006 e 2007). O objetivo do trabalho é 1) indicar quais as representações presentes no espaço escolar; 2) verificar como o ensino dos gêneros poéticos se apresenta nessa proposta; 3) apresentar, por meio da reflexão teórica, representações plurais dos gêneros poéticos que possam indicar caminhos possíveis de serem aplicados como no caso do Prêmio em diferentes contextos, implicando novos lugares para o professor e para os alunos, em novos papéis. / Unflattering representations of the poetic genre among primary and secondary school teachers often translate into a secondary place for poetry in the classroom. Seldom an object for reading activities, it is even more rarely used as a source for those of writing. In spite of that, students respond enthusiastically to the odd projects and activities which do offer to go beyond the study of individual poems. This dissertation focuses on one such project: the Escrevendo o Futuro Award, examining it from its presentation to teachers to the selection of candidates for the final round (chapter 1). Although the EF Award is a national competition, all the nine poems which constitute the corpus analyzed in chapter 2 come from the State of São Paulo. The material analyzed is structured in didactic sequences. The theoretical framework for such analysis draws on the works of Schneuwly e Dolz (2004), Bakhtin (1976; 2003); Jolibert (1994, 1994a, 2008) and Bazerman (2005; 2006 e 2007). The goals of this dissertation are: 1) identifying various representations of the poetic in primary and secondary schools; 2) examining the place poetry has in this context; 3) offering, based on a critique of the scholarly research on the field, alternative, plural possibilities of representation of the poetic genres which may lead to new roles for teachers and students vis-à-vis their working with poetry in the classroom.

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Esta pesquisa busca articular problemas de invenção e de recepção dos testamentos e das outras formas poéticas atribuídas ao Mestre François Villon. Na primeira parte, tratamos do gênero dos dois testamentos enunciados pela personagem do Vilão (Villon), com base nos preceitos e modelos poéticos que orientavam a invenção das letras na França do séc. XV. Paródias do testamento amoroso da época, o Pequeno e o Grande Testamento de Mestre François Villon são unificados pelo exemplo do arrependimento do Vilão antes da morte. Na segunda parte, estudamos a constituição do corpo poético transmitido sob a sua autoridade desde as primeiras edições nos sécs. XV e XVI, passando pelas edições modernas nos sécs. XIX e XX até as traduções em português no final do séc. XX. Ao mesmo tempo, analisamos a sua recepção em cada um desses três momentos, segundo as concepções de autor como autoridade, como homem e como personagem, respectivamente. Assim, pretendemos investigar os sentidos do nome de François Villon, utilizado para unificar aquele corpo poético. / This work articulate problems of invention and reception of the testaments and other poetic forms attributed to Master François Villon. In the first part, we examine the gender of the two testaments enounced by the Villain (Villon), using the poetic precepts and models based on which the writing was invented in the 15c in France. Parodies of the lovers testament from that time, the Small and the Greater Testament of Master François Villon are unified by the exemple of the Villains repentance before dying. In the second part, we study the establishment of the poetic corpus transmitted under his authority since his first editions in the 15th and 16th century, passing throught his modern editions in the 19c and 20c, until his portuguese translations at the end of the 20c. Simultaneaously, we focus its reception in each one of those three moments, based of the conceptions of author as a authority, as a individual and as a character, respectively. We aim to investigate the senses of the name of François Villon, which has been used to unify that corpus.

La mémoire occupe une place importante, tant dans les sociétés en générale que dans la littérature en particulier où elle est devenue une référence obligée, une exigence éthique et poétique pour comprendre le passé. Depuis quelques décennies déjà les questions liées à la mémoire reviennent de plus en plus sur la scène littéraire et politique. Dans cette optique, la présente thèse tente de réfléchir sur l’écriture de la mémoire envisagée dans une perspective postcoloniale à travers le roman historique contemporain. Le titre et le débat qu’il soulève mettent en relation les littératures algérienne, congolaise et haïtienne dans le but d’analyser la représentation du passé dans quatre romans : La Femme sans sépulture de Assia Djebar, Le Lys et le Flamboyant de Henri Lopes, Rosalie l’Infâme de Évelyne Trouillot et Ombres dansantes ou le zombie, c’est moi de Hans Christoph Buch. L’omniprésence de la thématique de la mémoire dans ces romans et l’enchevêtrement des faits de l’Histoire et des destins particuliers des personnages invitent à une approche comparatiste. Cette approche est adoptée ici en tant qu’elle nourrit un regard réflexif sur les pratiques culturelles des sociétés algérienne, congolaise et haïtienne. Cette étude a le dessein de poser d’abord, les fondements théoriques des notions et concepts de mémoire, de postcolonialisme en procédant à leur exégèse. Ensuite, elle examine la représentation du passé dans les espaces culturels africain et caribéen à travers les oeuvres sélectionnées. Et enfin, elle construit une poétique de la mémoire postcoloniale dans le roman historique contemporain. Sur fond d’une réécriture de l’Histoire, se dessine ici les contours d’un ensemble de pratiques auctoriales qui s’inscrivent dans une revisitation permanente des récits de l'historiographie. / The Memory has an important place, in our societies in general as well in literature, particularly where it became an unavoidable reference, an ethical and poetic requirement to have a better understanding of our past. For decades yet the questions related to our memory increasingly come back on the political and literary scene. This thesis intends to reflect on the writing of Memory considered in a postcolonial perspective through the historical contemporary novel. The title and thedebate raised put in relation the Algerian, Congolese and Haitian literature in the aim to analyse the representation of the past with the following novels The Woman without sepulcher from Assia Djebar, The Lily and Flamboyant from Henri Lopes, The Infamous Rosalie from Évelyne Trouillot and Dancing shadows or zombi, it’s me from Hans Christoph Buch. The omnipresence of the theme of memory in these four novels and the entanglement of the facts of the History and the particular draws of the characters presented invite to a comparative approach. This approach is adopted here so it canfeed a reflexive look on the cultural practices of the Algerian, Congolese and Haitian societies. This study has the goal to first display the theoretical foundations of Memory notions and concepts, from postcolonialism proceeding to their exegesis. Then, it examines the representation of the past in the African and Caribbean culturals spaces through their selected artwork. Finally, it builds a poetic of the postcolonial memory in the historical contemporary novel. Painted like a rewriting of the History, appear here the outlines of a whole series of auctorial practices entering in a permanent new twist of the Historiography texts.

O presente trabalho realiza uma abordagem sobre o Narrador em diferentes contextos e sua relação, na atualidade, com a criança, tendo em vista o encantamento que caracteriza e surge de tal vínculo. Neste sentido, partimos de reflexões de W. Benjamim e P. Zumthor, dentre outros autores sobre os assuntos abordados, enriquecidas pela visão nascida da experiência prática com a narração para as crianças e o encantamento com ela relacionado, utilizando, como exemplo para análise, experiências da autora em teatro narrativo para crianças. Abrangemos aspectos diversos da arte do narrador e elementos que compõem sua atuação e destacamos a imprescindibilidade da relação próxima, direta e afetiva para a instauração do encantamento, que torna possível a troca de experiências, e o papel da vocalidade poética como protagonista nesse processo. / This work performs an approach on the Narrator in different contexts and their relationship, nowadays, with the child, considering the enchantment that characterizes and arises from this bond. Accordingly, W. Benjamin and P. Zumthor\'s reflections, as well as other authors, on the issues addressed were taken into account, enriched by the vision gained from the practical experience with storytelling for children and enchantment associated with it, based on the author\'s experiences with narrative theatre for children. Several aspects of the art of the narrator and elements that make up its performance were comprehended, and the indispensability of the close, direct and affective relationship for the development of enchantment was stood out, which makes possible the exchange of experiences and the role of poetic vocality as the protagonist in this process.

This thesis is an autoethnographic exploration and articulation of aspects of my lived experience of the longterm impact of professional abuse. It is a context-dependent single case study written from a researcher-participant-counsellor perspective. In my review of the literature I demonstrate the challenges of researching and documenting the direct experiences of women who have been sexually exploited by male professionals. These challenges stem from our natural human tendency to deny traumatic experience, and from the prevailing culture of many social institutions which continues to have the effect of silencing women's voices and discrediting women's experience. The methodological approach I have taken in this thesis is evocative autoethnography. I have chosen this approach in order to document and analyse my present embodied experiences of remembering past abuse, continuing feelings of loss, and unfulfilled longing for resolution and release. I explore the relationship between my past and present selves in context, and consider the therapeutic possibilities of combining memory work, lifewriting, poetry, and imagination to create texts of remembering and re-remembering, to reclaim both what is and what might have been.

L'animation est« l'art de se servir des interstices invisibles entre les images». Le cinéaste Norman McLaren souligne ici que la construction du mouvement dépend d'une pratique du dessin de recherche, dont n'est restituée à l'écran que la forme aboutie. Une réflexion s'engage au sujet des processus créatifs d'un cinéma d'animation « d'atelier », fondé sur une démarche expérimentale. Ouvert lors de la réalisation de chaque photogramme, « l'interstice invisible » désigne le chantier de création dans lequel la pratique artistique et le développement filmique sont interrogés. Durant la réalisation, les cinéastes plasticiens font régulièrement « l'expérience de l'interstice » en questionnant leurs dess(e)ins. De nouvelles formes visuelles et narratives peuvent émerger d'une telle démarche, qui favorise les tensions dialectiques tout en encourageant les lignes d'invention : le fixe rencontre l'animé, la fiction se mêle au scénario poïétique et les supports s'entrelacent. Une poétique de la tresse se construit alors. Cette thèse propose de caractériser et de raconter le parcours de recherche du cinéaste plasticien, ainsi que de définir sa ligne de conduite. Il s'agira d'identifier les formes tressées qu'il élabore, jusqu'à émettre des propositions conceptuelles, telles que des « illustrations filmées » ou des matières «ectoplastiques ». Le cinéma d'animation plasticien pourra être défini à cette occasion autour d'une pensée du «tiers» ou du « dehors ». La thèse adopte une ligne de création-recherche, fondée sur des relations entre théorie et pratique, qui favorisent le croisement d'expériences artistiques et d'exercices de pensée. / Animation is «the art of manipulating the invisible interstices that lie between frames». Animator Norman McLaren explains that building movement depends on a research practice, that we can only see the result on screen. An experimental cinema can be defined from his comment. The « invisible interstice » opens with the creation of each new image, and so does the creative disorder, that goes along with questioning the artistic practice and the film development. During production, animators experiment the interstice. New narrative and visual forms can emerge from such an approach, which stimulates dialogues and invention : fixed pictures meet moving pictures, fiction crosses creative development, and media interlace. A poetic of the braid builds itself. This PhD proposes to characterise and tell the creator's explorative journey, and to define his process. We will identify the enlaced forms he creates, and we will propose concepts such as « filmed illustrations » and «ectoplastic» material. Experimental cinema will be defined as a « third » or an « out » cinema. This PhD adopts a line of creation and research, based on a continuous relationship between artistic experiences and theory.