Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and treatment of piano as an equal partner of voice line, is clearly demonstrated. With this contribution, Massenet should be recognized as the most influential composer to the climatic time of French mélodie led by Fauré, and Debussy, and Duparc.

Essa dissertação tem como objetivos a tradução ao português brasileiro e o estudo de duas declamações, quais sejam O jovem herói (Decl. 5) e O velho sovina (Decl. 6), creditados a Corício de Gaza, um professor de retórica cuja produção se situou na primeira metade do séc. VI d.C. Primeiramente, apresentam-se as traduções. Em seguida, o estudo, que é dividido em dois blocos: o primeiro capítulo busca contextualizar o corpus tendo em vista a conjuntura histórico-literária na qual ambas as declamações se inserem. O segundo capítulo corresponde à analise descritiva e interpretativa das principais características estilísticas, linguística e argumentativa de ambos os textos. / The main goals of this research are the translation into Brazilian Portuguese and an introductory study of two declamations, The Young Hero (Decl. 5) and The Miser Old Man (Decl. 6), credited to Choricius, a teacher of rhetoric who worked and lived in the 6th century Gaza. Firstly, I present the translation, then the study, which is divided into two sections: in the first chapter I contextualize both declamations historically and in the literary sense. In the second chapter I present a descriptive and interpretative analysis of the main stylistic, linguistic and argumentative characteristics of both texts.

Essa dissertação tem como objetivos a tradução ao português brasileiro e o estudo de duas declamações, quais sejam O jovem herói (Decl. 5) e O velho sovina (Decl. 6), creditados a Corício de Gaza, um professor de retórica cuja produção se situou na primeira metade do séc. VI d.C. Primeiramente, apresentam-se as traduções. Em seguida, o estudo, que é dividido em dois blocos: o primeiro capítulo busca contextualizar o corpus tendo em vista a conjuntura histórico-literária na qual ambas as declamações se inserem. O segundo capítulo corresponde à analise descritiva e interpretativa das principais características estilísticas, linguística e argumentativa de ambos os textos. / The main goals of this research are the translation into Brazilian Portuguese and an introductory study of two declamations, The Young Hero (Decl. 5) and The Miser Old Man (Decl. 6), credited to Choricius, a teacher of rhetoric who worked and lived in the 6th century Gaza. Firstly, I present the translation, then the study, which is divided into two sections: in the first chapter I contextualize both declamations historically and in the literary sense. In the second chapter I present a descriptive and interpretative analysis of the main stylistic, linguistic and argumentative characteristics of both texts.

Este trabalho tem como objetivos a tradução anotada e um estudo a respeito da obra Suasórias de Sêneca, o rétor. A tradução tenta seguir de modo rente o texto original, enquanto as notas procuram informar ao leitor algum acontecimento histórico ou personagens citados por Sêneca ou pelos declamadores. Já o estudo divide-se em três capítulos, o primeiro, procura detalhar algumas questões básicas sobre a declamatio, tendo ainda como subcapítulo um estudo mais aprofundado sobre as fontes desse fenômeno romano; o segundo capítulo versa sobre a forma constituinte da obra, ou seja, as sententiae, diuisiones e colores; o terceiro e último capítulo analisa de perto a relação entre suasória e prosopopeia, suas semelhas e diferenças. / This dissertation has as its aims an annotated translation and a study about the work Suasoriae of Seneca, the elder. The translation attempts to follow closely on the original text, while the notes informes the reader some historical event or characters cited by Seneca or even by the reciters. The study is divided into three chapters, the first attempts to clarify some basic questions about the declamatio, and also has, as its subchapter, a further study on the sources of this Roman phenomenon, the second chapter deals with the constituent form of the work, i.e.the sententiae, diuisiones and colores, the third and final chapter examines closely the relantionship between suasoria and prosopopeia, their resemblances and their differences.

Este trabalho tem como objetivos a tradução anotada e um estudo a respeito da obra Suasórias de Sêneca, o rétor. A tradução tenta seguir de modo rente o texto original, enquanto as notas procuram informar ao leitor algum acontecimento histórico ou personagens citados por Sêneca ou pelos declamadores. Já o estudo divide-se em três capítulos, o primeiro, procura detalhar algumas questões básicas sobre a declamatio, tendo ainda como subcapítulo um estudo mais aprofundado sobre as fontes desse fenômeno romano; o segundo capítulo versa sobre a forma constituinte da obra, ou seja, as sententiae, diuisiones e colores; o terceiro e último capítulo analisa de perto a relação entre suasória e prosopopeia, suas semelhas e diferenças. / This dissertation has as its aims an annotated translation and a study about the work Suasoriae of Seneca, the elder. The translation attempts to follow closely on the original text, while the notes informes the reader some historical event or characters cited by Seneca or even by the reciters. The study is divided into three chapters, the first attempts to clarify some basic questions about the declamatio, and also has, as its subchapter, a further study on the sources of this Roman phenomenon, the second chapter deals with the constituent form of the work, i.e.the sententiae, diuisiones and colores, the third and final chapter examines closely the relantionship between suasoria and prosopopeia, their resemblances and their differences.

Cette thèse entend montrer comment la naissance de la théorie du jeu théâtral au XVIIIe siècle contribue à la mise en cause du modèle mimétique classique au profit d'un nouveau modèle expressif. Considérant trois aires culturelles (la France, l'Angleterre et l'Allemagne), elle adopte une démarche chronologique, qui vise à souligner les changements dans la façon d’entendre le parallèle entre l'acteur, le peintre et l’orateur. Il apparaît ainsi que la théorie du jeu tire sa légitimité d'une réhabilitation du spectacle visuel, qui donne lieu à une esthétique du tableau scénique mettant en lumière la spécificité du jeu. En ce sens, elle ne se constitue pas en rupture avec les traités d’actio, mais par une réinterprétation visuelle de leurs principes, en faveur d'une éloquence corporelle naturelle libérée des codes de la rhétorique. Dès lors, sous l’influence du sensualisme, la place centrale accordée au corps de l'acteur créateur conduit à une série d'expérimentations théoriques et pratiques qui portent sur la production et la réception du sentiment au théâtre, et qui sont alimentées par les échanges d'un pays à l'autre. Ces réflexions hybrides participent à la redéfinition des arts de la représentation en termes de relation esthétique entre un sujet créateur et un sujet récepteur, et au passage d'une conception imitative à une approche expressive du sentiment. La diffusion, par David Garrick, d'une certaine image de Shakespeare, dont la dramaturgie contrevient aux règles de la poétique classique, joue un rôle important dans le développement de la théorie du jeu visuel et dans la définition du théâtre comme texte et représentation. / This work shows how the birth of acting in the eighteenth century calls into question the classical mimetic model in favour of a new expressive model. It examines three cultural areas: France, England, and Germany. It also adopts a chronological approch in order to analyse the changes undergone by the parallel between the actor, the painter and the orator. It then appears that acting theory draws its legitimacy from a rehabilitation of visual spectacle, which provokes the settling of an aesthetic of the stage paintng putting into light acting’s specificity. In that sense, acting theory does not emerge against writings on oratory action; on the contrary, it rises thanks to a visual re-interpreting of their principles freed from rhetorical codes. Hence, through the influence of sensualism, the major place given to the creative actor's body leads to theoretical and practical experimentations that concern the way to produce and to receive feelings, and which are nourished by multiple exchanges between the three countries. These hybrid reflections help redefine the art of representation as an aesthetic relation between a creating subject and a receiving subject. It contributes to the transition from an imitative conception of feeling to an expressive one. David Garrick’s spreading of a certain image of Shakespeare, whose dramaturgy offends the classical poetics rules, plays an important role in the development of a theory of visual acting an in the redefinition of theatre as text and representation.

Nombre d’œuvres d’époque impériale montrent que Xénophon était considéré comme un modèle littéraire éminent. La présente thèse offre une analyse de la réception de Xénophon dans les discours de l’orateur Ælius Aristide, lesquels n’ont pas encore été traités sous cet angle. Les œuvres aristidiennes examinées sont : les Discours platoniciens (or. 2-4), le discours Sur la digression (or. 28), la déclamation En faveur de la paix avec les Athéniens (or. 8), l’ensemble des cinq Discours leuctriens (or. 11-15), les témoignages sur la déclamation perdue Callixène, le Panathénaïque (or. 1) et l’éloge À Rome (or. 26). L’histoire grecque a une importance cruciale dans cette enquête : Aristide s’est particulièrement intéressé aux événements de l’après Leuctres. L’analyse des références historiques aux Helléniques met en avant l’érudition de l’orateur et son intérêt pour les discours contenus dans cet ouvrage de Xénophon. L’examen du travail littéraire d’Aristide sur le texte de Xénophon pourra contribuer à améliorer l’exégèse des discours aristidiens analysés, et fournira un nouveau volet aux recherches sur la réception de Xénophon. / Several ancient literary works show that Xenophon was considered during the Imperial period as a preeminent model. The present study analyses the reception of Xenophon in Ælius Aristides’ speeches, which have never been explored from this perspective. The works taken into account are the Platonic speeches (or. 2-4), the speech Concerning a remark in passing (or. 28), the declamation On making peace with the Athenians (or. 8), the group of the five Leuctran orations (or. 11-15), the evidence of the lost declamation Callixenus, the Panathenaicus (or. 1) and the speech To Rome (or. 26). Greek history has a crucial importance in this investigation: Aristides was particularly concerned by the events following the battle of Leuctra. The examination of the historical allusions to Xenophon’s Hellenica reveals Aristides’ erudition and his interest in the speeches included in this work. Looking at Aristides’ use of Xenophon’s texts can contribute to improving the exegesis of the Aristidian works and open a new path into research on Xenophon’s reception.

Em nossa dissertação, estudamos o manual retórico de Sulpício Vítor, Institutiones Oratoriae. Nossa pesquisa é dividida em quatro partes. Na primeira, comentamos a bibliografia especializada que nos antecede, abordando questões importantes, como datação, ocorrência de alguns elementos retóricos e semelhança com outros manuais. Na segunda, comparamos os exemplos fornecidos por nosso autor com exercícios declamatórios, sobretudo os de Sêneca pai, mas também os de Calpúrnio Flaco e de Pseudo-Quintiliano. Na terceira, analisamos e explicamos a teoria dos estados de causa de Sulpício Vítor, comparando, sempre que possível, suas lições com as de outros textos. Na última, apresentamos uma tradução anotada para o português. / In our dissertation, we study Sulpitius Victors rhetoric handbook, Institutiones Oratoriae. Our research is divided into four parts. The first consists of a commentary to the specialized bibliography that precedes us, addressing important issues, such as dating, occurrence of some rhetorical elements and similarities with other handbooks. The second aims to compare examples given by our author with declamation exercises, especially those ones of Seneca the Elder, but also the ones of Calpurnius Flaccus and of Ps. Quintilian. The third is dedicated to the analysis and elucidation of Sulpitius Victors issue-theory, as we compare, whenever possible, his lessons with the ones of other texts. The last includes an annotated Portuguese translation.

Em nossa dissertação, estudamos o manual retórico de Sulpício Vítor, Institutiones Oratoriae. Nossa pesquisa é dividida em quatro partes. Na primeira, comentamos a bibliografia especializada que nos antecede, abordando questões importantes, como datação, ocorrência de alguns elementos retóricos e semelhança com outros manuais. Na segunda, comparamos os exemplos fornecidos por nosso autor com exercícios declamatórios, sobretudo os de Sêneca pai, mas também os de Calpúrnio Flaco e de Pseudo-Quintiliano. Na terceira, analisamos e explicamos a teoria dos estados de causa de Sulpício Vítor, comparando, sempre que possível, suas lições com as de outros textos. Na última, apresentamos uma tradução anotada para o português. / In our dissertation, we study Sulpitius Victors rhetoric handbook, Institutiones Oratoriae. Our research is divided into four parts. The first consists of a commentary to the specialized bibliography that precedes us, addressing important issues, such as dating, occurrence of some rhetorical elements and similarities with other handbooks. The second aims to compare examples given by our author with declamation exercises, especially those ones of Seneca the Elder, but also the ones of Calpurnius Flaccus and of Ps. Quintilian. The third is dedicated to the analysis and elucidation of Sulpitius Victors issue-theory, as we compare, whenever possible, his lessons with the ones of other texts. The last includes an annotated Portuguese translation.

La présente étude revient sur le concept de théâtralité souvent employé à propos du Satyricon pour tenter d’enpréciser les manifestations et les modalités. Car derrière l’apparente simplicité du terme et la banalisation de sonemploi à propos de cette oeuvre, se cache une pluralité de procédés. La théâtralité du Satyricon revêt trois formes.Elle se définit spontanément comme la réutilisation de codes propres aux genres dramatiques comiques auxquelsPétrone emprunte situations, thématiques et procédés linguistiques. Cette théâtralité première est complexifiéepar son ancrage dans un univers narratif orienté, dont les préoccupations recoupent celles du genre satirique. Lerecours à des éléments théâtraux dessine les contours d’une société excessive et inauthentique, et se voit doncfiltrée par le topos du monde décadent : cette théâtralité seconde devient le moyen d’exprimer l’outrance desindividus et de leurs comportements. Et c’est précisément parce que dans le monde du Satyricon les valeurstraditionnelles sont caduques que la littérature classique est obsolète. S’ouvre alors la voie à une théâtralitétroisième, intrinsèquement liée à la parodie. Elle est principalement portée par la voix du narrateur, chez qui lapratique excessive de la déclamation a entraîné une projection systématique dans un au-Delà fictionnel. Lafracture existant désormais entre la réalité et sa perception a une double conséquence : d’une part toutes lessituations du quotidien s’assimilent à des représentations de scènes littéraires de référence ; d’autre part elledéconstruit la littérature traditionnelle en en exhibant les clichés. Cette théâtralité permet à Pétrone de renouvelerla littérature et de jeter les bases du genre romanesque. / The present study reexamines on the concept of theatricality often used about the Satyrica to try to specifyappearances and methods. For behind the visible simplicity of the term and the everyday acceptance of its use inrelation to this work, there hides a plurality of processes. The theatricality of the Satyrica takes on three forms. Itdefines itself spontaneously as the re-Use of codes particular to the funny dramatic genres from which Petroniusborrows situations, themes and linguistic processes. This first theatricality is complicated by its anchoring in adirected narrative universe, whose concerns it shares with those of the satiric genre. The falling back on theatricalelements outlines an excessive and inauthentic society, and thus sees itself filtered by the decadent world topos.And it is exactly because in the world of the Satyrica the traditional values are null and void that classicalliterature is obsolete. The way is then opens to the third theatricality, intrinsically connected to parody. It ismainly carried by the voice of the narrator, to whom the excessive practice of declamation entailed a systematicprojection to a fictional otherworld. The fracture existing from now on between reality and its perception has adouble consequence: on the one hand all the situations of everyday life can be reduced to representations ofliterary reference scenes ; on the other hand it deconstructs the traditional literature through clichés. Thistheatricality allows Petronius to renew literature and to lay the foundations for the novelistic genre.