Consoante aos estudos recentes sobre a lírica grega arcaica, hoje podemos aduzir a ocasião de performance como um elemento central para a definição de um gênero poético. A partir dessa concepção mais ampla de gênero, este trabalho visa à tradução e estudo dos fragmentos elegíacos de Tirteu, tendo em vista o caráter estritamente político de suas elegias narrativas e marciais e seus vínculos temáticos com a tradição épica, de modo que possamos ensejar uma reflexão outra sobre a função e estatuto dessa poesia em suas determinadas ocasiões de performance. / According to modern studies on archaic greek lyric, occasion of performance was a main feature to the definition of a poetic genre. Thus, this work seeks to translate and analyze the elegiac fragments of Tyrtaeus, considering the strictly political aspect of his martial and narrative elegies and its thematic resemblances with epic tradition, in order to raise a different comprehension on the function and meaning of this poetry, given its occasions.

Profondément mélancoliques, Chénier et Hölderlin subliment leur bile noire par l’écriture élégiaque, tournée chez le Français vers un idéal épicurien immanent et chez l’Allemand vers une transcendance divine. Les deux mélancolies procèdent de la rêverie rousseauiste. Chénier et Hölderlin tentent de renouer avec la « naïveté » des Anciens qu’ils adaptent à leur siècle et cherchent à équilibrer l’épanchement subjectif et la réflexion philosophique tout en luttant contre la monotonie du distique élégiaque, assoupli grâce aux enjambements. La proximité avec les genres épistolaire et hymnique, l’intertextualité et le recours à la mythologie soutiennent cet effort. Si Chénier combine les deux traditions du genre élégiaque, la tradition érotique et son pendant thrénétique, Hölderlin se concentre sur la dimension thrénétique. De leurs élégies, la postérité retient surtout l’expression mélancolique. Hölderlin a également beaucoup frappé par la veine mystique et spéculative de ses élégies, considérées à maints égards comme des textes aux allures prophétiques car ils posent la question de l’utilité de la poésie. / Deeply melancholic, Chénier and Hölderlin sublimate their bile through elegiac writing which, by the French, leans towards an immanent epicurean ideal and, by the German, towards a divine transcendence. Both forms of melancholy originate in Rousseau’s reverie. Chénier and Hölderlin try to revive the ancient “naivety” while adapting it to their century. They try to counterbalance subjective outpourings and philosophical reflection and they struggle against the monotony of the elegiac couplet, made more flexible by enjambements. Closeness to the epistolary and the hymnic styles, intertextuality and mythology make it possible. While Chénier combines both traditions of the elegiac genre, the erotic tradition and the gloomy one, Hölderlin concentrates on the gloomy dimension. It is the melancholic expression of their elegies which is remembered. The mystic and speculative inspiration of Hölderlin’s elegies amazed so many writers. His texts are regarded in many respects as prophetic since they bring the question of the usefulness of poetry to their forefront.

Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvre. / Alejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work.

L’identification des contraintes financières et sociales qui sont sous-entendues dans la situation des personnages amoureux de la comédie de Ménandre – à partir de ses pièces et fragments subsistants et de ses adaptations en langue latine par Térence – permet d’éclairer la rhétorique de séduction ou de dissuasion employée par les divers personnages types de ce genre littéraire. Or, il existe un parallèle étroit entre ces discours et situations dramatiques et l’élégie érotique qui fleurit quelques siècles plus tard à Rome sous la plume de Tibulle, Properce et Ovide. Certains aspects déroutants de la rhétorique de séduction employée par les élégistes sont élucidés lorsqu’on les comprend dans le contexte dramatique de la comédie nouvelle : notamment, le poète narrateur se positionne dans la situation du jeune protagoniste amoureux de la comédie et la bien-aimée à qui il s’adresse se trouve dans la situation de la courtisane indépendante qui figure dans plusieurs pièces comiques. Cette recherche conclut qu’il existe une tension financière entre l’amant élégiaque et sa maîtresse qui, bien qu’elle soit passée sous silence par les poètes, influence les arguments utilisés par le narrateur à son égard et les propos imaginés ou rapportés de sa bien-aimée en retour. / The identification of the financial and social constraints that underlie Menander’s love plots helps in explaining the arguments contained in the persuasive and dissuasive discourses employed by the various archetypal characters of this literary genre. This research demonstrates that there is a narrow parallel between the rhetoric rooted in these narrative situations and the later works of the Latin love elegists in a way that elucidates some aspects of the elegiac discourse: the poet-narrator positions himself in the situation of the enamoured young man of new comedy and his beloved addressee’s situation corresponds to that of the independent mistress who appears in many comic plots.

Made available in DSpace on 2016-08-10T11:06:50Z (GMT). No. of bitstreams: 1 ELIENE PADILHA FELIPE VICTOR.pdf: 712602 bytes, checksum: 7a97c018033f51bd96e0f20b648dbcf7 (MD5) Previous issue date: 2009-11-13 / This paper show an attentive reading of two poems written by José Décio Filho, a modern Goiano poet that published one book, which title is Poemas e Elegias (Poem and Elegy) and from which we selected two poems to be translated into English language: Serious Elegy and Song of Night . As an attentive reading the translation presents like a critical movement and was necessary an analysis of the poems in a manner that we knew the characteristics of Décio Filho s poems. It was also necessary to understand the process of translation while confront among different point of view and different culture. So, by the beginning a discursive analysis discussion, lexical and rhythm we proposed the translation of the poems / O presente trabalho mostra uma leitura atenta de José Décio Filho, poeta moderno, goiano que publicou um livro intitulado Poemas e Elegias e do qual selecionamos dois poemas para serem traduzidos para a língua inglesa: Grave Elegia e Canção da Noite . Enquanto leitura atenta a tradução se apresenta como movimento crítico e necessitou de uma análise dos poemas de maneira a conhecer as características das poesias de Décio Filho. Foi necessário também entendermos o processo da tradução enquanto confronto entre visões diferentes e culturas diferentes. Enfim, a partir de uma análise discursiva do ritmo e dos campos lexicais propomos uma tradução das poesias.

O tema deste estudo é a tradução poética, onde a complexidade em campo tradutório é maior. Para transpor a barreira lingüística e adentrar em outro âmbito cultural, é preciso um condutor que seja um \"elo\" entre culturas, o tradutor. Assim se constrói essa \"ponte necessária\", que traz e leva a voz de outros, permitindo que códigos lingüísticos se tornem compreensíveis nessa grande Babel. A busca pela palavra ideal na tradução poética passa por uma série de detalhes que dependem do texto original. Está o tradutor atado a ele, não em posição de servilismo, mas de uma fidelidade para com o essencial, o \"espírito\" da obra. Na leitura atenta do texto-fonte e na interpretação estão as soluções que não devem ser aleatórias, nem arbitrárias, dependem de fatores inerentes à própria tradução. O bom tradutor será coerente, terá bom senso, honestidade e respeito (com o texto, com o autor, consigo mesmo e com o leitor), ampla cultura geral e predisposição à pesquisa. Complementa este estudo a tradução completa da prosa poética espanhola Platero y Yo, de Juan Ramón Jiménez, Nobel 1956, e o cotejo e comentários de trechos da mesma com sua tradução ao português. A prática tradutória é baseada na \"transcriação\" ou \"recriação\", defendida pelos irmãos Campos (Haroldo e Augusto) na tradução poética. Atualmente, a tradução é ato que equivale à escrita de um texto novo, com valor de original. Atingir o outro lado da ponte é complexo, na complexíssima sim, porém fascinante arte de traduzir. / The theme of this paper is the poetic translation, which is a very difficult task in the translation field. In order to cross the linguistic obstacles and go to another cultural scope, it is necessary a linker between the two cultures. This linker is the translator. That is how this necessary link is made, which brings and takes people´s voices, allowing linguistic codes to be understood in this big \"Babel\". The search for the right word in the poetic translation goes through many details that depend on the original text. The translator is supposed to follow it, not like a \"slave\", but he is supposed to keep the essential meaning of the text. By reading the source and interpreting it the solution is found, which should not be neither aleatory nor arbitrary, but it depends on factors inherent to the translation itself. The good translator is coherent, has common sense, is honest and respects the text, the author, himself and the reader, is educated and likes searching. This paper has the whole translation of the Spanish poetic prose \"Platero y Yo\", by Juan Ramón Jiménez, the 1956 Nobel Prize winner and, as well, has remarks of some parts and its Portuguese version. The practice of translation is based on transcription or recreation, studied by the Campos brothers (Haroldo and Augusto), concerning poetic translation. Nowadays, translation has become equivalent to the writing of a brand new text, the original one. Achieving the objective in translation is very hard, once translation is an extremely difficult, but fascinating art.

L’élégie connaît une vogue manifeste à l’aube de notre modernité, au sein de ce qu’il est convenu d’appeler le préromantisme et le romantisme. Mais cet engouement ne va pas sans susciter de profondes interrogations sur la dimension générique de l’élégie. En effet, depuis son acclimatation en français, l’élégie ne peut plus être définie par le seul critère formel, devenu douteux. En outre, dès l’âge classique, deux dangers minent le genre : sa variété thématique qui gêne sa définition et une évolution sclérosante qui le fige en clichés. Émerge donc le souci de rédimer un certain babélisme de l’élégie et d’en refonder le pouvoir expressif par le recours à la notion plus souple d’ « élégiaque ». La modernité de l’élégie s’adosse à cet héritage problématique et réclame une perspective d’étude résolument historique : la vitalité de l’élégie au seuil du XIXe siècle s’autorise d’une nouvelle saisie du genre, qui promeut l’élégiaque au rang de critère premier, ramenant peu à peu l’étiquette d’élégie à la portion congrue. L’œuvre de Millevoye permet de dater ce point de bascule, qui ouvre la voie à l’élégie romantique, attachée à la notion naissante de « lyrisme » et magnifiée par Lamartine sous les auspices de la méditation. Mais en refondant l’élégie sur l’expressivité élégiaque, la modernité romantique l’a soumise aux aléas des sollicitations du sujet par l’histoire, qui le déstabilisent. D’où un déplacement de l’écriture élégiaque durant la seconde moitié du XIXe siècle, dans le repliement intimiste, le dédoublement parodique et humoristique, ou encore la polyphonie, manifestations diverses d’une remise en cause de la source subjective de la plainte élégiaque. Quand revient à la surface du champ littéraire l’élégie revendiquée comme telle, à l’occasion du traumatisme de la Seconde Guerre mondiale, c’est pour cristalliser en un genre labile les doutes, les deuils et les sourires d’un lyrisme incertain de son propre chant comme de l’existence du sujet qui le hante plus qu’il ne le chante. / The elegy was fashionable at the dawn of modernity, during the periods which are known as Pre-Romanticism and Romanticism. But this infatuation with elegy was not without raising deep questioning on its generic dimension. Indeed since the French had appropriated the genre, the elegy can no longer be just defined by a formal criterion which has become disputable. Furthermore, as early as the classical period, two dangers have been subverting the genre: its wide range of themes which is an obstacle to our grasping its quintessence and an evolution at a standstill condemning it to stereotyped perceptions. And from this came the worry to amend the confusion existing around the elegy as well as the urge to revivify its expressive power around the more flexible notion of "elegiac". The modernity of the elegy relies on this problematic heritage and requires a study in historical perspective: the vitality of the elegy at the beginning of the XIXth century allowed itself to provide a new interpretation of its genre that promoted the elegiac as a decisive criterion. Millevoye’s works enables us to date this turning point which paved the way to the romantic elegy linked to the rising notion of "lyricism" and glorified by Lamartine under the auspices of meditation. But while revivifying the elegy on elegiac expressiveness, romantic modernity compelled with the subject having to respond to historical vagaries that were eventually unsettling. Hence a shifting away from elegiac writing during the second half of the XIXth century into intimist withdrawal, parodic splitting or polyphony, all of them being various utterances of a questioning of the elegiac complaint’s subjective source. When the elegy as such resurfaced the literary scene owing to the trauma of the Second World War, it featured a shifting genre to crystallize the doubts, mournings and smiles of a lyricism as uncertain of its own song as the very existence of a subject that haunted its lines more than he inhabited them.

Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiaires. / This thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books.

L’identification des contraintes financières et sociales qui sont sous-entendues dans la situation des personnages amoureux de la comédie de Ménandre – à partir de ses pièces et fragments subsistants et de ses adaptations en langue latine par Térence – permet d’éclairer la rhétorique de séduction ou de dissuasion employée par les divers personnages types de ce genre littéraire. Or, il existe un parallèle étroit entre ces discours et situations dramatiques et l’élégie érotique qui fleurit quelques siècles plus tard à Rome sous la plume de Tibulle, Properce et Ovide. Certains aspects déroutants de la rhétorique de séduction employée par les élégistes sont élucidés lorsqu’on les comprend dans le contexte dramatique de la comédie nouvelle : notamment, le poète narrateur se positionne dans la situation du jeune protagoniste amoureux de la comédie et la bien-aimée à qui il s’adresse se trouve dans la situation de la courtisane indépendante qui figure dans plusieurs pièces comiques. Cette recherche conclut qu’il existe une tension financière entre l’amant élégiaque et sa maîtresse qui, bien qu’elle soit passée sous silence par les poètes, influence les arguments utilisés par le narrateur à son égard et les propos imaginés ou rapportés de sa bien-aimée en retour. / The identification of the financial and social constraints that underlie Menander’s love plots helps in explaining the arguments contained in the persuasive and dissuasive discourses employed by the various archetypal characters of this literary genre. This research demonstrates that there is a narrow parallel between the rhetoric rooted in these narrative situations and the later works of the Latin love elegists in a way that elucidates some aspects of the elegiac discourse: the poet-narrator positions himself in the situation of the enamoured young man of new comedy and his beloved addressee’s situation corresponds to that of the independent mistress who appears in many comic plots.

By reading mournful poems rhetorically, I expand the concept of the elegy in order to reveal continuities between private and communal modes of mourning. My emphasis on readers of elegies challenges writer-centered definitions of the elegy, like that given by Peter Sacks, who describes how the elegy's formal conventions express the elegist's own motives for writing. Although Sacks's Freudian approach helpfully delineates some of the consoling effects that writing poetry has on the elegist herself, this dissertation revises such writer-centered concepts of the elegy by asking how elegies rhetorically invoke ethical relationships between writers and readers. By reading elegiac poems through Kenneth Burke's rhetorical theories and Emmanuel Levinas's ethics, I argue that these poems characterize, as Levinas suggests, subjectivity as fundamentally structured by ethical relationships with others. In keeping with this ethical focus, I analyze anthology poems, meaning short lyric poems written by acclaimed authors, easily accessible, and easily remembered - including several well-known poems by such authors as Emily Dickinson, Gerard Manley Hopkins, and Robert Frost. Anthology pieces invite ethical evaluation in part because they represent what counts as valuable poetry - and also, by implication, what does not. Because anthology poems are read by broad, diverse audiences, I suggest that a rhetorical methodology focusing on writer-reader relationships is essential to evaluating these poems' ethical implications. This rhetorical approach to poetry, however, questions rhetoricians and aesthetic theorists from Aristotle and Longinus to Lloyd F. Bitzer and Derek Attridge who emphasize distinctions between rhetoric and poetics. I address the ongoing debate about the relationship between rhetoric and poetics by arguing, along the lines of Wayne C. Booth's affirmation that fiction and rhetoric are interconnected, that poetry and rhetoric are likewise integrally tied. To this debate, I add an emphasis on philosophy - from which Plato, Ramus, and others exclude rhetoric and poetry - as likewise essential to understanding both poetry and rhetoric. By recognizing the interrelatedness of these disciplines, we may better clarify poetry's broad, ethical appeals that seem so valuable to readers in situations of loss.