Le haïku est un genre poétique japonais né au XIXe siècle, constitué de 17 syllabes. De nos jours, le Japon compterait quelque 10 millions d’amateurs et de professionnels de haïku pour une population totale de 127 millions. Ces Japonais composent des haïkus afin d'exprimer leur sensibilité, mais aussi de les montrer aux autres qui les jugent, dans le cadre de réunions poétiques de groupes associatifs, dans des rubriques haïkistes de journaux et de magazines, lors de compétitions, ou encore à l’école. Le haïku interpelle l’imagination et l’empathie des autres pour s’épanouir pleinement en tant qu’œuvre. Cherchant la reconnaissance des autres, le haïku est une activité sociale grand public au Japon. Plusieurs mécanismes propres à la pratique du haïku empêchent l’établissement d’une hiérarchie complète dans ce vaste monde des haïkistes japonais : notation sous anonymat (donc égalité lors de l’appréciation), utilisation de pseudonymes, liberté d’appartenance à plusieurs groupes de son choix, absence de critères poétiques absolus. Le haïku offre de multiples possibilités de participations, répond à de multiples désirs tels que se montrer, être reconnu, découvrir autrui, jouer sous une autre identité. Ainsi le haïku attire-t-il de nombreux adeptes. La brièveté extrême du haïku assure une grande accessibilité et facilite des échanges sur peu de temps. Être bref accentue le côté ludique de la poésie et crée une forte sociabilité. Par ailleurs, cette concision oblige systématiquement les haïkistes à avoir une retenue vis-à-vis de soi et des autres. Restant courtois, les haïkistes continuent interminablement ce jeu de « présentation – appréciation » dans lequel chacun a l’assurance d’être écouté. / Haiku is a type of Japanese poem originating from the 19th century, consisting of 17 syllables. Nowadays, Japan has nearly 10 million amateur and professional haiku poets, from a total population of 127 million. These people compose haikus to express themselves, and also to present their poems to be judged by others. They present them in poetry clubs, in haiku columns in newspapers and magazines, in various competitions, or in classes at school. In order to fully flourish as a work, haiku challenges the imagination and empathy of others. Through seeking recognition from other people, haiku has become a social activity of the general public in Japan. Several mechanisms specific to the practice of haiku writing impede the establishment of a proper hierarchy in the wide world of haiku poetry such as assessing under anonymity (resulting in equality during the judging), the use of pseudonyms, the freedom to join multiple haiku groups of their choice and the absence of absolute poetic criteria. There are various reasons why people participate in writing haiku, fulfilling several desires such as to express oneself, to be applauded, to meet other people, and to assume a different identity. For these reasons, haiku attracts many enthusiasts. The extreme brevity of haiku enables wide accessibility and rapid exchanges. Its brevity accentuates the recreational side of the poem and creates strong sociability between participants. In addition, brevity compels haiku poets to be discreet towards themselves and towards others. By remaining courteous, the haiku poets continue an interminable game of "presentation - appreciation" in which everyone has the assurance of being listened to.

Made available in DSpace on 2016-03-15T19:34:32Z (GMT). No. of bitstreams: 1 Marcio Alexandre Pereira.pdf: 832521 bytes, checksum: 933cf39bee41f574bc8a231172d2bc63 (MD5) Previous issue date: 2007-10-11 / The problem of the morosidade of the Judiciary Brazilian is unanimous who elapses of innumerable factors, as the extreme increase of demands thanks to the population awareness for the incessant search of its rights, excess of formalism, disinterest of some servers, inadequate legislation, and other questions of social, economic matrix and politician. At last, it does not have as if to point such question, without internal and external factors to the process are appreciated. In such a way, the present work does not have the pretension to solve the clutter current of the installment of the jurisdictional guardianship, intimamente on question to the access to justice and procedural celeridade. One searchs to point some ways for the solution of the problem, being identified its origins. The idea of the workmanship was born for the importance of the subject that is intimamente on to the citizenship, a time that a Judiciary weak person is incapable to satisfy the yearning social, bringing reflected of most maleficent. / É unânime o problema da morosidade do Judiciário brasileiro que decorre de inúmeros fatores, como o aumento excessivo de demandas graças à conscientização populacional pela incessante busca de seus direitos, excesso de formalismo, desinteresse de alguns servidores, legislação inadequada, e outras questões de cunho social, econômico e político. Enfim, não há como se apontar tal questão, sem que sejam apreciados fatores internos e externos ao processo. Desta forma, o presente trabalho não tem a pretensão de solucionar a desordem atual da prestação da tutela jurisdicional, questão intimamente ligada ao acesso à justiça e celeridade processual. Busca-se apontar alguns caminhos pela solução do problema, identificando suas origens. A idéia da obra nasceu pela importância do tema que está intimamente ligado à cidadania, uma vez que um Judiciário moroso é incapaz de satisfazer o anseio social, trazendo reflexos dos mais maléficos.

Les Epigrammes de John Owen (1564 ?-1622) constituent un ensemble unique dans la production néo-latine, tant par le nombre de pièces qui le composent, environ mille cinq cent, que par le niveau d’excellence atteint par le « Martial anglais » (gallois, plutôt) qui fit du monodistique l’instrument privilégié de son génie. Le recueil du poète, qui connut pendant plus d’un siècle un véritable rayonnement européen, reflète son époque de composition en bien des points : la préférence accordée à l’inspiration satirique et morale, le culte de la brièveté ingénieuse, la recherche du bon mot et le plaisir du jeu verbal étaient en effet à même de satisfaire les zélateurs de l’esprit nouveau qui s’affirmait alors en Angleterre, vers la fin de l’ère élisabéthaine. L’épigramme owenienne est donc d’abord un exercice de subtilité, et l’étude du recueil, qui se présente au lecteur dans un savant désordre, révèle aussi la subtilité des liens qui régissent son organisation. Celle-ci ne dit pas seulement le soin apporté par le poète à son texte, qui témoigne d’une ambition certaine, mais souligne encore l’extraordinaire variété des sujets qui répond à une caractéristique du genre et à la volonté affirmée d’Owen de faire feu de tout bois. De cet ensemble kaléidoscopique, riche de ses propres échos et où le second degré apparaît souvent comme un témoignage de respect à l’égard de la tradition sur laquelle l’œuvre s’est construite (celle de la poésie morale et gnomique), il faut, enfin, souligner la modernité et la beauté qui sont les secrets du grand œuvre ; en cela, John Owen est bien l’héritier légitime de Martial / John Owen’s Epigrams represent an exceptional contribution in the neo-latin production, not only by the number of the poems, but also by the near perfection reached by the « English Martial » (welsh, actually) who made the elegiac couplet the prime instrument of his personal genius. Owen’s collection was met immediately with tremendous success in Great Britain as well as on the continent ; this success should last for more than a century, especially on the continent. The collection reflects his age of composition in many ways : the preference given to the satirical and moral inspiration, the cult of wity brevity and the passion for different types of puns were able to please the devotees of the new wit which spread then in England towards the end of elizabethan era. Thus, Owen’s epigram is above all an exercise of subtlety, and the study of the ten books, which are built on an artistic disorder, show as well the subtlety of the links! which rule their organisation. This organisation not only show the care given by the author to his work, which is a sign of ambition, but emphasize the remarkable variety of the subject which is certainly the rule for this special type of poetry, but also tell us Owen’s will for major eclecticism. Finally, we have to insist on the tradition to which the Epigrams are linked, that of moral poetry, and on the ironic treatment that the poet apply to commonplaces of gnomic sayings (or ordinary ones), inexhaustible source of inspiration for the witty epigrammatist who found there a way to surprise the reader. John Owen Latin epigrams are probably the wittiest and most pointed that have ever been produced in that tongue

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-28T13:12:06Z No. of bitstreams: 1 wendellguiduccideoliveira.pdf: 826507 bytes, checksum: f1cb2009dfac9af33bc641b85e44c587 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-05-02T01:07:44Z (GMT) No. of bitstreams: 1 wendellguiduccideoliveira.pdf: 826507 bytes, checksum: f1cb2009dfac9af33bc641b85e44c587 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-05-02T01:08:01Z (GMT) No. of bitstreams: 1 wendellguiduccideoliveira.pdf: 826507 bytes, checksum: f1cb2009dfac9af33bc641b85e44c587 (MD5) / Made available in DSpace on 2016-05-02T01:08:01Z (GMT). No. of bitstreams: 1 wendellguiduccideoliveira.pdf: 826507 bytes, checksum: f1cb2009dfac9af33bc641b85e44c587 (MD5) Previous issue date: 2016-02-16 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Consolidada na América Espanhola desde a década de 1970, somente na virada do século XXI a minificção chegou à sua maturidade no Brasil. Ainda são tímidos, no país, os estudos sobre este gênero ficcional marcado pela brevidade, pela intensidade expressiva, pela narratividade e pelo hibridismo genérico, características que abundam nos livros de minicontos de Dalton Trevisan, Marina Colasanti e Fernando Bonassi, entre outros. Paradoxal em sua forma e conteúdo, os microrrelatos dialogam frequentemente com outros gêneros literários e extraliterários, colhendo referências variadas e replantando-as no fértil solo da interdisciplinaridade, de onde vicejam como outra expressão artística. Espécie de antivanguarda, a minificção recorre à tradição para então subvertê-la e superá-la, demolindo neste movimento os muros que segregam e categorizam gêneros e saberes. Ao minicontista cabe o desafio de compor histórias que, sendo simultaneamente conto e grafite, fotografia e poema, cinema e haikai, manchete e aforismo, não deixem de ser, na febre da transgressão, aquilo que se propõem de início: ficção de mínimas proporções e máximo efeito. / Consolidated in Spanish America since the 1970s, minifiction only reached its maturity in Brazil at the turn of the twenty-first century. In the country, there are still scarce studies of this fictional genre marked by brevity, expressive intensity, narrativity and generic hybridity, features that abound in microtales books by Dalton Trevisan, Marina Colasanti and Fernando Bonassi, among others. Paradoxical in its form and content, microfiction often dialogues with other literary and extraliterary genres, collecting various references and replanting them in the fertile soil of interdisciplinarity, from where they thrive as another artistic expression. As a kind of "anti-avant-garde", minifiction appeals to tradition and then subverts it and overcomes it, demolishing in this movement the walls that segregate and categorize genres and knowledge. The challenge of microfiction author is to write stories that are simultaneously tale and graffiti, photography and poem, film and haikai, headline and aphorism, without ever forgetting to be, in the fever of transgression, what they first propose to be: fictions of minimum proportions and maximum effect.

Thesis advisor: Richard J. Clifford / The translation of הֶבֶל (hebel) with vanitas has had a profound influence in the history of exegesis of the book of Qoheleth often characterized as the most pessimistic, skeptical, and nihilistic book in the Hebrew Bible, having as author a despondent man. This dissertation provides a corrective to the “vanity”, “meaningless”, “absurd” or negative reading of הֶבֶל in Qoheleth, by arguing that הֶבֶל has a positive value, as it expresses not the absurdity or the meaningless of life, but its fleetingness/transitoriness/brevity, whose meaning is disclosed in the opening and closing poems (1:2-11 and 12:1-8). This dissertation thus argues that the הֲבֵל הֲבָלִים הַכֹּל הָבֶל which introduces and concludes the book of Qoheleth (1:2; 12:8) is an appeal to contemplate the order, the beauty of the cosmos, through the regularity, recurrence, and cyclicality of natural phenomena. It also calls attention to the fleetingness of human experience in the world, which Qoheleth highlights in the opening and closing poems but also by the use of transient markers: יְמֵי־חַיֵּי הֶבְלוֹ ,(7:15) בִּימֵי הֶבְלִי ,(9:9), כָּל־יְמֵי חַיֵּי הֶבְלֶךָ ,(11:8) יְמֵי הַחֹשֶׁךְ (11:8) יְמֵי בְּחוּרוֹת (11:10) הַיַּלְדוּת וְהַשַּׁחֲרוּת הָבֶל (6:12), as well as אַחֲרָיו ,צֵּל and מִסְפַּר. The shortness of life and the limited duration of human achievements do not empty human life of its true meaning and value. Rather, they tell of the very nature of humans and their actions. The hebelness is from God who made things as fleeting, temporary, transient compared to his own eternity. By using the term הֶבֶל, and by introducing and concluding his book with “nature” poems, Qoheleth reminds the readers of their transience in this world with its pressing and tragic problems, as well as comforting them with the fact that evil itself is temporary in its impacts on life. They will pass away. Hence, Qoheleth’s opening and closing statement: הֲבֵל הֲבָלִים הַכֹּל הָבֶל (1:2; 12:8). / Thesis (PhD) — Boston College, 2020. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

L’enjeu de cette thèse a pour objet deux corpus fondamentaux pour le Moyen Âge français, et plus généralement pour la littérature européenne, soit le Roman de Renart et les fabliaux. Néanmoins, la relation en tant que telle entre les deux reste peu analysée jusqu’à présent. Si les aspects thématiques communs de ces textes ont souvent été perçus par la critique, celle-ci n’a jamais véritablement posé les divergences qui s’opéraient dans ces thèmes, notamment dans la façon dont ils sont employés au sein de deux genres dont l’organisation est très différente. Si l’on peut envisager les deux genres comme relevant du récit comique bref, il faut alors interpréter les dynamiques à l’œuvre, si l’on définit la notion comme mouvements qui concourent à un processus, c'est-à-dire de questionner ce qui fait de ces deux corpus des récits comiques brefs, que ce soit de façon convergente ou divergente. / The purpose of this thesis is to compare the Roman de Renart with the fabliaux, which are often brought closer together by critics, particularly because of their comical nature. While the common themes of these texts have often been described, no study has ever really analyzed the divergences that occurred in these themes, especially in the way they are used in two genres whose organization is very different, since we have a serial narrative on one hand, and stories independent on the other hand. If we want to consider that both of them belong to the same type of story, then we must interpret their narrative dynamics. We can define the notion as movements that contribute to a process, that is to say, to examine their classification as comical short narratives, whether convergent or divergent. In fact, brevity turns out to be a problematic notion, the Roman de Renart and the fabliaux having a different relationship with the question. What unites them is more a narrative tension of the plot created by effects of surprise, reversals, deviations, but especially the dynamics of the intra- and extra-textual echoes

L’écriture littéraire de Kerouac est la manifestation de sa quête spirituelle sous la forme du chemin de l’écrit. Ce n’est pas exactement la route de l’écriture de On the Road, qui s’élance vers l’horizon comme l’autoroute américaine, lorsque l’on déroule le manuscrit sur le sol ou l’on lit les lignes de gauche à droite. Il s’agit plutôt de la manière par laquelle l’écrit forme un chemin pour que cette quête spirituelle s’oriente à travers l’œuvre, à travers la création de l’œuvre. À mi-chemin entre le français et l’anglais, écrivain beat visionnaire, Jack Kerouac explore toutes les formes d’écriture, de la prose à la forme la plus brève d’écrit littéraire, le haïku, afin de répéter et répéter des exercices littéraires de l’esprit qui lui permettront d’orienter sa quête spirituelle et de la traduire en mots. Plusieurs textes font office d’exercices d’écriture sur le parcours du corpus des écrits kerouaciens, mais c’est dans Some of the Dharma qu’on retrouve l’exemple le plus percutant des sentiers littéraires à travers lesquels s’est engouffrée sa quête spirituelle. Cette thèse examine la notion de chemin et les articulations de la quête spirituelle à travers quatre chapitres. Les deux premiers chapitres traitent respectivement des textes en français publiés en 2016 sous le titre La vie est d’hommage et du problème de la spontanéité sous l’angle du spirituel. Ils préparent ainsi la réflexion du troisième chapitre où il s’agit de comprendre comment Some of the Dharma peut être conçu comme le grand carnet laïque des chemins spirituels de Kerouac. Enfin, le quatrième chapitre expose la signification de l’imbrication de la prose et de la brièveté littéraire (notamment les haïkus et les koans), appuyée sur la conception d’un présent à la fois impermanent et éternel. Cet ensemble de réflexions mène à s’interroger sur le sens spirituel de la voie littéraire dans un monde sécularisé. Les défaites spirituelles de Kerouac sont aussi nombreuses et lui ont permis de s’orienter, n’ayant pas d’autres guides spirituels que sa propre écriture et ses lectures. L’écriture littéraire est avant tout chemin et la traversée de ce chemin mène là où nous sommes toujours. Kerouac en donne un exemple saisissant que cette thèse explicite par ses propres chemins de l’écrit. / Kerouac's literary writing is the manifestation of his spiritual quest formed by the path taken by the written word. This is not exactly the road of writing in On the Road, which rushes towards the horizon like the American highway, when you unroll the manuscript on the ground or you read the lines from left to right. Rather, it is the way in which the writing forms a path for this spiritual quest to find its way through the work, through the creation of the work. Halfway between French and English, the visionary beat writer Jack Kerouac explores all forms of writing, from prose to the briefest form of literary writing, the haiku, in order to repeat and rehearse literary exercises of the mind that will allow him to orient his spiritual quest and translate it into words. Several texts serve as writing exercises on the journey through the corpus of Kerouacian writings, but it is in Some of the Dharma that we find the most striking example of the literary paths through which his spiritual quest was launched. This thesis examines the notion of the way and the articulations of the spiritual quest through four chapters. The first two chapters discuss respectively the French texts published in 2016 under the title La vie est d'hommage and the problem of spontaneity from a spiritual perspective. They prepare the reflection developed in the third chapter, where the aim is to understand how Some of the Dharma can be conceived as the great lay notebook of Kerouac’s spiritual paths. Finally, the fourth chapter explains the meaning of the interweaving of prose and literary brevity (notably haikus and koans), based on the conception of a present that is both impermanent and eternal. These reflections lead us to question the spiritual meaning of the literary path in a secularized world. Kerouac’s spiritual defeats are numerous and have allowed him to find his way, having no other spiritual guides than his own writing and reading. Literary writing is above all a way and crossing this path leads to where we are, always. Kerouac gives a striking example of this, which this thesis makes explicit through its own writing paths.