Orientador: Alcir Pecora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-14T10:25:38Z (GMT). No. of bitstreams: 1 Borges_Cassio.pdf: 1198025 bytes, checksum: 23f8e56dc63b31be33fce159c54c1b3a (MD5) Previous issue date: 2008 / Resumo: Ao reler a Fábula de Polifemo y Galatea de Góngora, esta Engenhosa Bucólica Seiscentista, tendo em vista os regimes retóricos de representação letrada, assim como a especificidade aguda da preceptiva poética coetânea, procura delinear um viés interpretativo que se esquiva tanto do paradigma psico-sociológico, empreendido, de modo exemplar, na fortuna crítica de Góngora, por Robert Jammes, quanto da linhagem estilística postulada por Dámaso Alonso. Recuperando categorias interpretativas forjadas pelas principais Artes de Engenho, sobretudo as de Emanuele Tesauro e Baltasar Gracián, o presente estudo, em convergência com os novos trabalhos dedicados às retóricas ibéricas, como, por exemplo, o de Antonio Martí e o de Luisa López Grigera, examina a atualização gongórica da fábula greco-latina, atendo-se, por um lado, ao procedimento tropológico-analítico que particulariza a elocução de Góngora e, por outro, ao incremento cortês, que ali afeta o arranjo convencional do argumento fabular, concebendo ambos sob o signo de uma emulação, que, ao pressupor o aprimoramento da língua romance, empenha-se na institucionalização, via consenso erudito, de um decoro agudo, ou seja, de um uso que, ao restringir seus campos de interlocução, imagina uma companhia engenhosamente discreta. / Abstract: In reading once more the Góngora's Fable of Polyphemus and Galatea, having in mind the oratorical procedures of erudite representation, as well as the acute specificity of the coetaneous preceptive poetry, this Sixteenth-century-Ingenious Bucolic searches for delineating an interpretative bias that takes away as much from the psycho-sociological paradigm undertaken exemplarily by Robert Jammes' critical review of Góngora, as from the stylistic linage postulated by Dámaso Alonso. In recuperating the interpretative categories established by Emanuele Tesauro's and, above all, Baltasar Gracián's Artes de Engenho (Art of Inventiveness), the current research, along the new studies devoted to the sixteenth-century Iberian rhetoric, like those of Antonio Martí and of Luisa López Grigera, on the one hand it examines the Gongoristic review of the Greco-roman fable focusing on the tropologic and analytical procedure that particularizes the Góngora's elocution; on the other hand, it focuses on the courteous increment that affects the conventional arrangement of the fabled argument, conceiving both of them under the signal of a emulation that, in presupposing the improvement of the Romance language, it is committed to the institutionalization, via scholarly consensus, of an acute decorum, in other words, of a use that, in limiting its fields of interlocution, imagines a ingeniously discreet companionship. / Universidade Estadual de Campi / Teoria e Critica Literaria / Doutor em Teoria e História Literária

À travers l’expérience de Verlaine, cette thèse s’interroge sur la critique littéraire d’un écrivain. Les raisons d’être et les particularités formelles d’une production quotidienne d’un poète accédant graduellement à la notoriété sont étudiées en partant d’un panorama des définitions du phénomène (introduction). La triple analyse biographique, esthétique et discursive expose le lien étroit entre le contexte de production de la critique, les constructions théoriques qu’elle véhicule et les formes discursives qu’elle prend. La position marginale de Verlaine dans le champ littéraire prédétermine sa méfiance envers les mécanismes del’institutionnalisation, autant qu’envers les théories qui la justifient. D’où la faible conceptualisation théorique et le maniement contradictoire et décourageant des notions existantes. Les particularités de l’autoreprésentation (provocation, ethos faible) découlent également de sa position dans le champ littéraire et accompagnent l’abandon des théories prescriptives au profit d’une tolérance accrue. L’accent se déplace du domaine conceptuel vers le domaine discursif où se cultivent l’affectivité, l’expressivité, l’ironie qui rapprochent la critique de la création poétique, sans toutefois l’apparenter à la poésie en prose. Cette critique garde le caractère pragmatique d’élément de communication littéraire, son efficacité renforcée par certains traits de l’idiolecte (jeux de sonorités, métaphores, segmentation des phrases), dégagés de leur valeur poétique dans le nouveau contexte. / Verlaine’s experience allows to question the phenomenon of writer criticism. The rationale and the formal qualities of the daily critical output of a poet acceding to celebrity are studied after an overview of the phenomenon’s definitions (introduction). The triple biographical, esthetic and discourse analysis reveals the tight bond between critical production context, theories used and form given to critical texts. Verlaine’s marginal position in the literary field predetermines his distrust of institutionalization mechanisms and oftheories justifying them resulting in low conceptualization as well as in contradictory and discouraging handling of existing notions. The particularities of self-representation (provocation, weak ethos) equally result from his position in the literary field and go along with abandoning prescriptive theories in the name of tolerance. The emphasis moves from the conceptual sphere to the discourse accentuating affectivity, expressivity and irony which bring it closer to poetical creativity but not so as to become prose poetry. This criticism does not loose its pragmatic turn inherent to literary communication, its efficiency being reinforcedby certain features of idiolect (play upon sounds, metaphors, segmentation of phrases), freed of their poetical value in the new context.

Ce travail envisage les enjeux d'une narration discontinue et disloquée sous l'influence de la mémoire de la guerre dans le roman contemporain de langue française. Elle privilégie une approche narratologique pour l’analyse de trois romans : Le Message d’Andrée Chedid (2000), Riz noir d’Anna Moï (2004), Le Boulevard périphérique de Henry Bauchau (2008). Le choix du corpus donne un aperçu général sur trois guerres différentes dans le monde ; cependant, notre étude s’intéressera plutôt à l’impact tragique de la guerre, en général, sur trois œuvres qui, tout en relevant de l’extrême-contemporain et venant de nations différentes, se souviennent du XXe siècle. Ici, l’enjeu de l’analyse est de montrer comment l'auteur réussit à transmettre le traumatisme de la guerre, ce qui soulève, dès lors, des enjeux de la narration discontinue et disloquée, qui suit les hésitations, voir les obsessions d'une mémoire intermittente. Dans une première partie, la thèse se concentrera sur les mutations socio-historiques du tournant du XXIe siècle et sur la perception d’un monde éclaté, spécialement dans le domaine romanesque. La deuxième et la troisième partie, essentiellement narratologiques, étudieront les romans considérés en tant qu’écritures mémorielles et y examineront les phénomènes de dislocation narrative dans l’organisation du temps et de l’espace des récits. La quatrième partie, présentera une vue d'ensemble sur la composition des romans et examinera les procédures d’unification relative assurant la cohérence romanesque. Nous nous intéresserons, ici, aux univers de valeurs inscrits dans les trois romans à l’étude ; ce qui nous amènera à évoquer leurs aspects axiologiques et leur dimension éthique face à la guerre, destinés à donner au lecteur l'idée d'une recomposition d'une Histoire tragique. / The present research considers some aspects of dislocated writing under the influence of the memory of war in the contemporary French-language novel. The study favours a narratological approach in three novels: Anna Moï's Riz noir, Andrée Chedid's Le Message and Henry Bauchau's Le Boulevard périphérique. The choice of this corpus gives an overview of three different wars that occurred in the world. However, our study focuses on the tragic impact of war in general on three novels that, albeit being from the extreme-contemporary and coming from different nations, remind the twentieth century. This study aims to analyze how the authors succeed in transmitting the trauma of war, which raises the issues of discontinued and dislocated writing llustrating the hesitations or even the obsessions of an intermittent memory. In the first part, the thesis will focus mainly on the socio-historical changes of the turn of the 21st century and on the perception of a fragmented world, especially in the novel. The second and third parts, mostly emphasizing on narratological aspects, analyze the considered novels as memorial writings and examine the phenomena of a discontinued temporality as well as dislocated space in the composition of the three novels. The fourth part will present an overview of the composition of the novels and will examine the unifying processes ensuring the coherence of the novel. It will focus on the world of values present in the three studied novels evoking the axiological aspects of the novels and their ethical dimension towards war in order to give the reader the idea of a coherent reconstruction of a tragic History.

Med sitt ofullbordade verk Le Visible et l’invisible påbörjade Maurice Merleau-Ponty formulerandet av en poetisk ontologi – en filosofi som sätter konsten i centrum för erfarenheten av Varat och som därmed går att förstå som en estetik. Uppsatsen undersöker Merleau-Pontys Le Visible et l’invisible som en estetik i den dubbla bemärkelsen av en teori om sinnlighetens relation till tänkandet och vilken betydelse konsten har för denna relation. I fokus är sinnlighetens öppenhet gentemot en värld bortom det enskilda subjektet, som detta subjekt står i kontakt med genom sin kroppslighet. Här undersöks hur konstens sinnliga idéer indirekt frambringar en erfarenhet av Varats osynliga lager, de latenta samband mellan Varats framträdelser som följer och bär upp det synliga, och hur konsten därmed kan sägas frambringa en ny sanning. Här undersöks hur dessa sinnliga idéer kommer till uttryck, vilka former de antar. Med det aktiveras frågan om konstverkets form och innehåll, uttryck och mening. Sinnligheten förstås som samtidig gräns och öppning, som plats för den händelse som skapar världen. / With his unfinished work Le Visible et l’invisible Maurice Merleau-Ponty began to formulate a poetic ontology – a philosophy that places art in center of the experience of Being, and which is therefore possible to understand as an aesthetics. The essay examines Le Visible et l’invisible as an aesthetics in the double sense as a theory of how perception relates to cognition and what impact the arts has to this relation. It focuses on the perception’s openness towards a world beyond the subject, a world that the subject is connected to through its corporeality. It examines how the sensuous ideas of the arts indirectly brings forth the experience of the invisible layers of Being, the latent connections that lines and supports the visible, and how the arts therefore can be said to bring forth a new truth. It examines how these sensuous ideas come into expression, which forms they take. With that the question about form and content, expression and meaning, of the art work is activated. Perception is understood as the simultaneous limit and opening, as the place of the event that creates the world.

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[pt] Esta pesquisa quer rever e tratar do ponto de vista teórico-crítico os critérios usados na experiência pessoal e empírica de curadoria da exposição Poesia Agora, a fim de ampliar o estudo do contexto da poesia nacional pós-2000. É também a oportunidade de avaliação acadêmica das surpresas e questões levantadas ao longo do processo de trabalho e de verificação de quais indícios estas podem nos fornecer. Assim, será buscada a própria força pensante que a poesia atual pode produzir sobre si mesma. O objetivo é empreender uma investigação crítica, uma reavaliação estética e política sobre a poesia contemporânea, entendendo-a para além do âmbito meramente textual, mas dentro de um sistema de práticas sociais. / [en] This research aims to review and approach from the theoretical-critical point of view the criteria used in the personal and empirical experience of curatorship of the Poesia Agora (Poetry Now) exhibition, in order to broaden the study of the context of national post-2000 poetry. Additionally, it is an opportunity to evaluate academically the surprises and unpredictable issues raised throughout the work process and checking what evidence they can provide us. Thus, the very thought power that contemporary poetry can trigger on itself will be sought. The goal is to undertake a critical investigation, an aesthetic and political reappraisal of contemporary poetry, understanding it beyond the merely textual scope, but within a system of social practices.

Swift appears in many of his poems either in his o person or behind a poetic mask which does little to conceal his identity. The poems contain Swift's view of his own character. Even in the poems addressed to others, the most important subject is Swift himself. This study is divided into chapters which examine the various roles Swift assumed in both his private and public lives. Following a brief introduction are two chapters of more interest than significance. The first of these is concerned with poems on Swift as a houseguest. These poems frequently relate the difficulties Swift's eccentric behavior caused his hosts. The second deals with poems on Swift's relationships with friends such as Thomas Sheridan and Patrick Delany, as well as with a public adversary, Jonathan Smedley.