Forme héritée du rondet de carole devenue un genre polyphonique à l’époque de l’ars nova, le rondeau s’est paradoxalement développé, à la fin du Moyen Âge, en tant que genre poétique sans musique. Cette thèse se propose ainsi d’étudier comment, de Guillaume de Machaut à Charles d’Orléans, une forme à la fois brève et répétitive a su paradoxalement s’imposer comme un genre textuel autonome. La première partie de ce travail, « Le fantôme de la voix », envisage la dette que le rondeau textuel doit à la tradition musicale. Après un essai de définition diachronique, nous interrogerons l’effet de l’absence de musique sur l’évolution de la mise en page du rondeau, puis la manière dont les récits à interpolations lyriques jouent de l’imaginaire musical, vocal et épistolaire d'une forme "hantée". La deuxième partie, « L’espace du manuscrit » interroge les « mises en livres » du rondeau. Une typologie distinguant la "collection hybride", la "section" et le "canzoniere", initie un parcours dans les manuscrits de Machaut, Froissart, Christine de Pizan, Eustache Deschamps, Oton de Granson et Jean de Garencières. Nous proposons une analyse détaillée d’un cas particulier : les chançons de Charles d’Orléans, copiées vers 1440 dans le fonds primitif du BnF fr. 25458. Dans la troisième partie, il s’agit de concevoir la naissance d’un « genre », qui se cristallise dans le goût de l'énigme et le choix de l’ornatus difficilis, alors même que la forme se prêtait davantage, au XIVe siècle, à l’ornatus facilis. Les deux derniers chapitres étudient la circulation, la réécriture et le recyclage de refrains intertextuels au sein de plusieurs recueils collectifs transformés, par le mélange de l'ancien et du nouveau, en véritables « anthologies créatives ». / Nherited from the 13th-Century rondet de carole, the rondeau became a polyphonic musical genre at the age of the ars nova, and tends to be used, in 14th and 15th Centuries manuscripts, as a textual lyric. This thesis uncovers how, from Guillaume de Machaut to Charles d’Orléans, a short and redundant poetical text, which was supposed to be sung became non musical poetry. In the first part of this study we consider the textual rondeau as a rhetorical « ghost of a voice » : we study the history and genealogy of the form from a musical and rhetorical perspective, show how the absence of music impacts the layout and how fiction and narrative relocate the interpolated textual rondeaux in a vocal, musical or epistolary horizon. The next part investigates the way scribes and poets gather collections of rondeaux from a codicological perspective. We offer a typology that distinguishes « hybrid collections », « sections » and « canzonieri ». Through these three kinds of « mises en recueil », we analyze the use of the rondeau in manuscripts from Machaut, Froissart, Christine de Pizan, Eustache Deschamps, Oton de Granson and Jean de Garencières, which finally leads to a detailed analysis of the chançons by Charles d’Orléans, written c. 1440 in the BnF fr. 25458. The last part examines the rise of a scriptural genre : the poetical evolution of the rondeau reveals a rhetorical shift from the ornatus facilis to the ornatus difficilis, especially with Charles d’Orléans who initiates a fully bloomed literary genre. We then analyze, in the last two chapters, collective practices of quoting and rewriting to show how the rondeau becomes a scriptural game, consisting in expanding and recycling ambiguous formulas, especially in a new kind of collections we call « creative anthologies ».

Por se tratar de um gênero flexível, o epigrama pode ser analisado em conjunto ou sozinho, propiciando diferentes recortes e abordagens metodológicas. Estudos acerca do epigrama fúnebre geralmente analisam os poemas de acordo com temas afins focando nos mortos: guerreiros mortos, mulheres mortas no parto, mortos no mar dentre outros. No entanto, uma abordagem dos epigramas fúnebres com visão descentralizada do morto permite investigação mais ampla de outros temas. Desse modo, a presente tese partiu dos estudos de Giuseppe Giangrande, Francis Cairns e Alexander Sens sobre epigramas fúnebres que lançam mão de elementos simposiais no intuito de analisar a função de tais elemento e verificar de que maneira os simposiais presentes nos epigramas fúnebres se perpetuam ou se modificam. Para tanto, foram selecionados epigramas do livro VII da Antologia Grega que possuem léxico simposial e fúnebre e, a partir dos identificados, foram configurados três grupos: 1) os dedicados ao poeta Anacreonte, 2) os dedicados às mulheres bêbadas e 3) os dedicados aos homens bêbados. Nos epigramas dedicados a Anacreonte, pode-se constatar que os elementos simposiais resgatam sua poesia e a filiam aos epigramatistas por meio da transformação do espaço funerário e das relações entre o transeunte-leitor e o poeta. Nos poemas dedicados às mulheres bêbadas, o consumo do vinho e o enterramento próximo aos locais de produção dele ressaltam a mobilidade das anciãs, o distanciamento de seus familiares e o caráter cômico das mortas por conta da caracterização da bebedeira. Por fim, nos epigramas fúnebres dedicados aos homens bêbados, evidenciam-se a moderação e a imoderação diante do consumo de vinho. Em alguns, a moderação está alinhada ao conceito poético de composição. Em outros, o excesso de vinho causa acidentes retratados com tom cômico e que advertem o transeunte-leitor a não cometer os mesmos erros. Outro grupo de epigramas se vale das referências simposiais para criar enigmas ao transeunte-leitor. O último, por sua vez, é composto por epitáfios para filósofos mortos por bebedeira. Evidencia-se aqui a tensão entre a moderação e os ensinamentos filosóficos, permeados pelos tons anedótico e cômico. Sugere-se, portanto, que a presença de elementos simposiais adquire função distinta de acordo com o grupo de mortos. Isto posto, observa-se que os epigramas do corpus de diferentes séculos lançam mão de simposiais que passam a ganhar nuances distintas. Isso permite afirmar que os epigramas fúnebres com elementos simposiais perpetuam a tensão criativa entre a tradição e a inovação, conceitos debatidos por Marco Fantuzzi e Richard Hunter, para além do período helenístico. / Because it is a flexible genre, the epigram can be analyzed in groups or alone. It provides researchers with different possibilities of epigram grouping and methodological approaches. Studies on funerary epigram frequently analyze the poems according to related themes focusing on the dead: dead warriors, women dead in childbirth, dead in the sea among others. However, an approach to funerary epigrams which does not focus on the dead allows a broader investigation of other themes. Thus, the present thesis was based on the studies of Giuseppe Giangrande, Francis Cairns and Alexander Sens on funerary epigrams that use sympotic elements in order to analyze the function of such elements and to verify how the sympotic found in funerary epigrams continue being used of if they suffer modifications. In order to do so, we selected epigrams from Book VII of The Greek Anthology that display sympotic and funerary lexicon and, departing from the , three groups of epigrams were identified: 1) those dedicated to the poet Anacreon, 2) those dedicated to drunk women and 3) those dedicated to drunk men. In epigrams dedicated to Anacreon, sympotic elements recover his poetry and connect it to the epigrammatists by means of the transformation of the funeral space and the relationship between the passerby and the poet. In poems dedicated to drunken women, the consumption of wine and their burial near places of wine production emphasize the mobility of old women, their distancing from their relatives and the comic character of the dead women due to the characterization of their drunkenness. Finally, in the funerary epigrams dedicated to drunken men, moderation and immoderation are evident. In some, moderation is aligned with poetic composition. In others, the excess of wine causes accidents portrayed with comic tone. These epigrams warn the passerby not to make the same mistakes as the dead they commemorate. Another group of epigrams uses sympotic references to create charades to the passerby. The last group, in turn, is composed by epitaphs for philosophers killed by drunkenness. Here we see the tension between moderation and philosophical teachings permeated by the anecdotal and comic tone. It is suggested, therefore, that the presence of sympotic elements acquires a different function according to the group of dead. Thus, it is observed that, although the epigrams were composed in different centuries, the portrayed gain different nuances, which allows us to conclude that funerary epigrams with sympotic elements also reflect the creative tension between tradition and innovation, as debated by Marco Fantuzzi and Richard Hunter.

Por se tratar de um gênero flexível, o epigrama pode ser analisado em conjunto ou sozinho, propiciando diferentes recortes e abordagens metodológicas. Estudos acerca do epigrama fúnebre geralmente analisam os poemas de acordo com temas afins focando nos mortos: guerreiros mortos, mulheres mortas no parto, mortos no mar dentre outros. No entanto, uma abordagem dos epigramas fúnebres com visão descentralizada do morto permite investigação mais ampla de outros temas. Desse modo, a presente tese partiu dos estudos de Giuseppe Giangrande, Francis Cairns e Alexander Sens sobre epigramas fúnebres que lançam mão de elementos simposiais no intuito de analisar a função de tais elemento e verificar de que maneira os simposiais presentes nos epigramas fúnebres se perpetuam ou se modificam. Para tanto, foram selecionados epigramas do livro VII da Antologia Grega que possuem léxico simposial e fúnebre e, a partir dos identificados, foram configurados três grupos: 1) os dedicados ao poeta Anacreonte, 2) os dedicados às mulheres bêbadas e 3) os dedicados aos homens bêbados. Nos epigramas dedicados a Anacreonte, pode-se constatar que os elementos simposiais resgatam sua poesia e a filiam aos epigramatistas por meio da transformação do espaço funerário e das relações entre o transeunte-leitor e o poeta. Nos poemas dedicados às mulheres bêbadas, o consumo do vinho e o enterramento próximo aos locais de produção dele ressaltam a mobilidade das anciãs, o distanciamento de seus familiares e o caráter cômico das mortas por conta da caracterização da bebedeira. Por fim, nos epigramas fúnebres dedicados aos homens bêbados, evidenciam-se a moderação e a imoderação diante do consumo de vinho. Em alguns, a moderação está alinhada ao conceito poético de composição. Em outros, o excesso de vinho causa acidentes retratados com tom cômico e que advertem o transeunte-leitor a não cometer os mesmos erros. Outro grupo de epigramas se vale das referências simposiais para criar enigmas ao transeunte-leitor. O último, por sua vez, é composto por epitáfios para filósofos mortos por bebedeira. Evidencia-se aqui a tensão entre a moderação e os ensinamentos filosóficos, permeados pelos tons anedótico e cômico. Sugere-se, portanto, que a presença de elementos simposiais adquire função distinta de acordo com o grupo de mortos. Isto posto, observa-se que os epigramas do corpus de diferentes séculos lançam mão de simposiais que passam a ganhar nuances distintas. Isso permite afirmar que os epigramas fúnebres com elementos simposiais perpetuam a tensão criativa entre a tradição e a inovação, conceitos debatidos por Marco Fantuzzi e Richard Hunter, para além do período helenístico. / Because it is a flexible genre, the epigram can be analyzed in groups or alone. It provides researchers with different possibilities of epigram grouping and methodological approaches. Studies on funerary epigram frequently analyze the poems according to related themes focusing on the dead: dead warriors, women dead in childbirth, dead in the sea among others. However, an approach to funerary epigrams which does not focus on the dead allows a broader investigation of other themes. Thus, the present thesis was based on the studies of Giuseppe Giangrande, Francis Cairns and Alexander Sens on funerary epigrams that use sympotic elements in order to analyze the function of such elements and to verify how the sympotic found in funerary epigrams continue being used of if they suffer modifications. In order to do so, we selected epigrams from Book VII of The Greek Anthology that display sympotic and funerary lexicon and, departing from the , three groups of epigrams were identified: 1) those dedicated to the poet Anacreon, 2) those dedicated to drunk women and 3) those dedicated to drunk men. In epigrams dedicated to Anacreon, sympotic elements recover his poetry and connect it to the epigrammatists by means of the transformation of the funeral space and the relationship between the passerby and the poet. In poems dedicated to drunken women, the consumption of wine and their burial near places of wine production emphasize the mobility of old women, their distancing from their relatives and the comic character of the dead women due to the characterization of their drunkenness. Finally, in the funerary epigrams dedicated to drunken men, moderation and immoderation are evident. In some, moderation is aligned with poetic composition. In others, the excess of wine causes accidents portrayed with comic tone. These epigrams warn the passerby not to make the same mistakes as the dead they commemorate. Another group of epigrams uses sympotic references to create charades to the passerby. The last group, in turn, is composed by epitaphs for philosophers killed by drunkenness. Here we see the tension between moderation and philosophical teachings permeated by the anecdotal and comic tone. It is suggested, therefore, that the presence of sympotic elements acquires a different function according to the group of dead. Thus, it is observed that, although the epigrams were composed in different centuries, the portrayed gain different nuances, which allows us to conclude that funerary epigrams with sympotic elements also reflect the creative tension between tradition and innovation, as debated by Marco Fantuzzi and Richard Hunter.

Notre étude porte sur les animaux dans la littérature hellénistique. Nous avons volontairement choisi de travailler sur un vaste corpus afin de mettre en lumière les multiples représentations de l’animal apparaissant dans les textes de la période. La première partie de cette étude est consacrée à l’imagerie animale à travers laquelle les auteurs décrivent les caractères et les qualités de l’homme, exposant, dans une moindre mesure, les rapports analogiques entre les animaux. La deuxième partie s’attache à montrer les relations existantes, symboliques ou réelles, entre l’homme et l’animal. La mise en scène des animaux dans le récit traduit les pratiques et les modes de pensée de la société hellénistique vis-à-vis de l’animal. Quant à la dernière partie de cette étude, elle présente les tentatives d’objectiver les comportements et les qualités de l’animal. En ce sens, elle met en avant l’essor des écoles philosophiques et des sciences de la période par l’approche philosophique et didactique de la nature animale. Au fil des textes, la pensée hellénistique révèle la tension continuelle entre croyance et connaissance, entre représentations culturelles et « données scientifiques » sur l’animal. Si les auteurs conçoivent l’homme comme appartenant au continuum biologique animal, ils s’en démarquent par l’affirmation de sa supériorité d’un point de vue intellectif. / Our study focuses on animals in Hellenistic literature. We deliberately chose to work on a large text corpus in order to highlight the multiple representations of the animal appearing in the texts of the period. The first part of this study is devoted to animal imagery through which the authors describe the characters and human qualities, exposing, to a lesser extent, the analogue relationship between animals. The second part aims to show existing relationships, symbolic or real, between man and animal. The staging of the animals in the story reflects thepractices and ways of thinking of the Hellenistic society towards the animal. The last part of this study presents the attempts to objectify the behaviours and qualities of the animal. In that sense, it shows the rise of philosophical schools and sciences of the period by the philosophical and didactic approach to animal nature. In texts, Hellenistic thought reveals the continual tension between belief and knowledge, between cultural representations and "scientific data" of the animal. If the authors conceive man as belonging to the animal biological continuum, they stand out by the assertion of their superiority in an intellective perspective.

Finding appropriate and unique repertoire for the developing singer is a daunting task and ongoing challenge in the teaching profession. There are limited resources to help guide teachers in selecting varied, yet suitable repertoire that falls outside of the standard Western European musical canon. The early years, ages 17–21, are crucial to establishing a healthy and well-rounded vocal approach to singing, while also introducing the student to a wide variety of music. African-American art song is a great option for developing singers. Repertoire should allow a student to grow musically, vocally, and artistically according to the singer’s specific stage of learning and interests. Selecting repertoire through established criteria that considers the student’s personal and cultural interests (in addition to pedagogical needs) allows for a good foundation to support a healthy vocal development. Consideration of numerous elements, such as historical, musical, physical, emotional, and vocal characteristics offers a framework for a comprehensive approach in the selection process. In Literature for Teaching: A Guide for Choosing Solo Vocal Repertoire from a Developmental Perspective, Christopher Arneson provides a wonderful base for further study, and application into repertoire selection. Through the utilization of Arneson’s suggestions, I have created a rubric that quantifies key criteria important to the evaluation of repertoire. Through this rubric, a clear evaluation and assigned difficulty level is provided for each song in the collection. This compilation of songs is only the beginning to a proposed anthology entitled: African-American Art Song for the Developing Singer. Each song offers a historical and pedagogical summary that includes the following: composer and poet biographies, text and translations, basic form, original key and other keys available, performance notes, range, tessitura, suggested voice type, tempo suggestions, difficulty level, and other available editions. This unique anthology of African-American art song offers teachers with a resource that evaluates appropriate repertoire for developing singers, between the ages of 17–21, that is clearly accessible.

Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèse. / This thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry.

A Antologia do conto russo, publicada pela Editôra Lux Ltda. no início dos anos 1960 e organizada por Otto Maria Carpeaux, é a primeira tradução de contos russos realizada diretamente da língua de origem. Este estudo resgata as informações e a situação em que essa coletânea de textos foi criada, numa tentativa de remontar seu contexto histórico, momento literário e mercado editorial, buscando hipóteses que auxiliem no entendimento dos aparatos que a constituem, num esforço de aproximação do escasso material de divulgação localizado sobre obra, editora e organizador pesquisado nos periódicos da época e constante dos anexos , numa reflexão sobre os laços de interesse existentes entre o Brasil e a União Soviética. / The Anthology of Russian Short Stories, edited by Otto Maria Carpeaux and published in the early 1960s by Editôra Lux Ltda, marks the first time Russian short stories were published from direct translation of the original language to Portuguese. This study retrieved information about the Brazilian historical and literary context as well as its publishing market during the time the work was created in an effort to promote a better understanding of how it was influenced by them. The presented information about the work, publisher and editor )included in the attachments( was searched in the sparse number of publishing advertisements in the newspapers and magazines that circulated during that time. It allows a better understanding of the works content and promotes a deeper reflection on the common interests and relationship between Brazil and the USSR.

Esta dissertação tem por objetivo estudar como os poemas de Claro Enigma de Carlos Drummond de Andrade se articulam e como tal articulação os modifica e os constitui como livro. Para tanto, analisa-se a nota introdutória da antologia que Drummond compôs com seus próprios poemas, na qual ele expõe e explica seus critérios de organização, usando o adjetivo vertebrado para qualificá-la; em seguida, passa-se à leitura das seis seções do livro, buscando-se identificar as maneiras como elas estão construídas e como isso afeta suas composições; aponta-se, então, o uso de algumas imagens repetidas em diferentes poemas, rearticulando as seções e o conjunto; e, por fim, examina-se as diversas edições do Claro Enigma / This dissertation seeks to study how the poems of Claro Enigma, by Carlos Drummond de Andrade, are integrated and how this integration changes them and makes a book out of them. In order to do so, it is analyzed the introductory note of the anthology that the poet has made of his own compositions, in which he exposes and explains the criteria used by him in this task. In this note he also has characterized this anthology as a vertebrated one. Afterwards, the six sections of Claro Enigma are examined; with the purpose of identify the ways by which they are built and how this affects their poems. After that it is studied the use of some images in more than one poem and how they remodel the sections and the whole. Lastly, there is a study of the different editions of Claro Enigma

Thesis: The TV series Black Mirror as a substantial creation of British TV production Abstract: ENG The thesis deals with the analysis of the British TV anthology Black Mirror. It examines the program in terms of authorship, processing method, theme, genre, and impact on society. The aim is to determine the basic characteristics of the Black Mirror and to point out its uniqueness in the context of current trends in television content. In individual chapters, it focuses on the role of authorship, the definition of the genre and the definition of the main topic. The program is also subjected to a narrative and stylistic analysis that examines the way the story is constructed, the narrative structure, the work with the characters, the environment and the style. Furthermore this thesis also want to examine the the extent to which the topics of Black Mirror correspond to reality. The result of this research offers a complex picture of Black Mirror, including a comparison with selected British television programs.

In der vorliegenden Dissertation wird die literarische Wechselbeziehung zwischen den deutschsprachigen Schriftstellern Max Frisch (1911-1991) und Uwe Johnson (1934-1984) untersucht. Zu diesem Zweck werden nicht nur die literarischen Texte besprochen, sondern auch ihre Produktion und Rezeption, und zwar anhand von veröffentlichtem und unveröffentlichtem Material. Durch die Untersuchung der verschiedenen Lektoratsarbeiten Johnsons an Frischs Werken, des Projekts "Stich-Worte" und der intertextuellen Bezüge zwischen dem Werk von Frisch und dem von Johnson wird ein literarischer Austausch zwischen den beiden Schriftstellern rekonstruiert, bei dem die Frage nach der Identität und deren literarischer Darstellung sowie die Problematik von Biographie und Autobiographie im Zentrum stehen. Es wird gezeigt, dass die beiden Schriftsteller einander bei diesem Austausch erheblich beeinflusst haben. ---------------------------------- L´objet de la présente thèse de doctorat est l´interaction littéraire qui sest développée entre les écrivains de langue allemande Max Frisch (1911-1991) et Uwe Johnson (1934-1984). Afin de mieux circonscrire le dialogue qu´ils ont mené tout au long de leur relation et l´influence qu´ils ont exercée l´un sur l´autre, l´analyse des textes littéraires proprement dits a été combinée à l´étude de leur production et de leur réception sur la base de documents publiés et de documents darchives. De l´étude des travaux de relecture réalisés par Johnson sur quatre manuscrits de Frisch, des "Stich-Worte" et des liens intertextuels tissés entre l´uvre de Frisch et celle de Johnson, il ressort que le dialogue entre ces écrivains a pour thème central la question de l´identité et de sa représentation littéraire, la problématique de la biographie et de l´autobiographie et que, par le biais de ce dialogue, ces deux auteurs se sont influencés de façon considérable. ---------------------------------- The subject of this thesis is the literary interaction between the German-speaking writers Max Frisch (1911-1991) and Uwe Johnson (1934-1984). In order to better circumscribe their lifelong dialogue and mutual influence, not only the literary texts were analysed, but also their production and reception, which was done on the basis of published and unpublished material. The analysis of Johnsons comprehensive editing on four manuscripts by Frisch, of the "Stich-Worte" and of the intertextual links between the works of Frisch and Johnson, reveals that the dialogue between these two writers centers on the issue of identity and its literary representation, as well as the problems posed by biography and autobiography; Ultimately, it appears that through this dialogue Frisch and Johnson influenced each other to a considerable extent.