A primeira parte deste trabalho compõe-se de um estudo do gênero épico tal como desenvolvido por Ovídio nas Metamorfoses, por meio da análise detalhada do proêmio e de outras passagens programáticas, concomitantemente à avaliação dos modelos que acabaram por formar sua variante particular de epos, a saber, Hesíodo, os poetas alexandrinos, além dos predecessores latinos, em particular Ênio, Lucrécio e Virgilio. A segunda parte consta do estudo e análise do mito de Ceix, no livro 11, no tocante à disposição narrativa e abordando-o em seu aspecto alusivo a obras precedentes, notadamente quanto ao conflito pietas / pax x impietas / ferocia que permeia o mito. Por fim, foi feita uma tradução em prosa de todo o mito, apresentada linha a linha, e uma em versos dodecassílabos da parte principal. / The first part of this piece of work consists of a study of the epic genre as developed by Ovid in Metamorphoses, by means of a detailed examination of the proem and other programmatic passages, simultaneously to an appreciation of the poetic models who contributed to form his particular variant of epos, namely Hesiod, the alexandrian poets, together with his Latin predecessors, particularly Aenius, Lucretius and Virgil. The second part consists of the study and analysis of the myth of Ceix in book 11, concerning narrative disposition and its marked alusiveness to preceding poems, notably in relation to the pietas / pax x impietas / ferocia conflict which underlies the story. Finally, there is a prose translation of the whole myth presented line by line, followed by a verse translation of the main part of the myth.

Reading David Jones’s The Anathemata, William Carlos Williams’s Paterson, and Charles Olson’s The Maximus Poems as epics, this doctoral dissertation challenges the old but persistent notion that epic poetry ceased being written at a particular point in the past and instead examines the particular formal, philosophical and political difficulties writers of this genre had to confront in the second half of the twentieth century. Twentieth-century epic poetry will primarily be defined in terms of its purpose or function, which is the representation of the identity of a ‘community’, while the literary period beginning with the end of the Second World War will be defined as late modernism. Chiefly inspired by Anthony Mellors’s Late Modernist Poetics: From Pound to Prynne, late modernism will be discussed as an aesthetico-political challenge with which writers had to come to terms in the wake of twentieth-century European totalitarianism. Georges Bataille’s philosophy of community, it will be argued, paradigmatically illustrates these aesthetico-political difficulties in philosophical terms, and the discussions of the three epic poems are therefore preceded by an analysis of Bataille’s Summa Atheologica, which constitutes the core of his philosophy of community.

Dos Cantos 6 a 13 da Odisseia, Homero narra a estada de Odisseu em Esquéria, a terra dos feácios. Durante a recepção de Alcínoo ao herói, uma tensão sutil se desenvolve: enquanto o anfitrião deseja descobrir a identidade de seu misterioso convidado, o herói luta para manter-se anônimo e garantir sua condução para casa. Essa tensão se desenrola num jogo de palavras sutil e elegante, no qual se digladiam o mestre da astúcia, o polúmetis Odisseu, e aquele de forte mente, alkí-nóos, o perspicaz Alcínoo. A essa disputa dou o nome de jogo do discurso. Conforme aqui defendo, tal jogo toma forma abaixo da superfície das palavras, e seus dois participantes conversam muito mais por meio do não-dito do que pelo que de fato dizem. Para que uma análise desse jogo intelectual seja possível, proponho um resgate da figura de Alcínoo, cujo nome defendo significar alkí-nóos, força-mente, como figura astuta e perspicaz, o que vai de encontro à opinião difundida de que o rei dos feácios é anódino ou pouco inteligente. Conforme argumento, ele permanece atento às manobras retóricas de seu convidado, o qual busca a todo custo tecer discursos agradáveis e proveitosos (meilíkhioi kaì kerdaléoi mûthoi), num processo que culmina com sua cartada final: a narrativa das aventuras. Alcínoo, mesmo percebendo os recursos astuciosos e manipulativos de seu convidado, rende-se a seus talentos e regozija-se com sua performance. / From Book 6 till the beginning of Book 13 in the Odyssey, Homer tells us of Odysseus sojourn in Scheria, the land of the Phaeacians. During Alcinous reception of the hero, a subtle tension develops between the two: while the host wishes to discover the identity of his mysterious guest, the hero strives to remain anonymous and secure his conveyance home. This tension unfolds in a subtle and elegant game of words in which the two oponents meet: the master of of tricks, Odysseus polúmetis, and the one of a strong mind, alkí-nóos, shrewd Alcinous. I call this contest the discourse game. As I wish to defend, such game takes place beneath the surface of words, and the participants maintain a conversation in which what remains unexpressed communicates more than what is actually said. For such an analysis to be possible, I propose to rescue Alcinous, whose name I claim to mean strength-mind, from the widespread opinion that the king is foolish or unintelligent. As I argue, he is very attentive to the rhetorical maneuvers of his guest, who is trying to fabricate pleasing and profitable speeches (meilíkhioi kaì kerdaléoi mûthoi), in a process that culminates with his final play: the narrative of the adventures. Alcinous, although detecting and understanding the crafty and manipulative purposes of his guest, surrenders to his talents as a storyteller and enjoys his performance.

Tradução e estudo do discurso \"Contra Timarco\", de Ésquines. O estudo se concentra na condição tríplice do texto, como discurso jurídico, retrato do comportamento sexual masculino da Atenas do Período Clássico e exemplo da recepção primitiva da obra homérica em uma situação distante do contexto dos festivais e simpósios. / Translation and study of the speech \"Against Timarchos\", by Aeschines. The analysis focus on the trifold condition of the text, as a juridical speech, a portrait of the male sexual behavior in Classic Athens and an example of early reception of Homer\'s poetry, in a condition that differs from festivals and symposiums.

Cette thèse porte sur le domaine de la littérature française en Suisse romande et est consacrée à la production littéraire de l’un des acteurs du renouveau littéraire romand au début du XXe siècle, Gonzague de Reynold (1880-1970), compagnon d’écrivains célèbres comme C. F. Ramuz et Ch. A. Cingria. Dans une œuvre abondante et inégale, particulièrement consacrée à des essais historiques et parfois politiques, un corpus poétique plus restreint a été délimité, couvrant particulièrement la période contemporaine de La Voile latine (1904-1910) et du premier conflit mondial, jusqu’aux grandes années de l’Entre-deux-guerres. Entre 1904 et 1931, Reynold accorde en effet une place importante à la création littéraire, avant de se laisser accaparer par l’action catholique et/ou nationaliste, l’écriture d’essais politiques et plus tard la composition de vastes synthèses sur l’idée européenne. De L’Âge d’or (1898) et Au Pays des Aïeux (1904) à Conquête du Nord (1931), en passant par Cités et pays suisses (1914-1920), et les Contes et légendes de la Suisse héroïque, plusieurs œuvres en vers et en prose assurent à leur auteur le statut de poète, image que vient bientôt concurrencer sa renommée d’intellectuel et d’historien de la civilisation. Jusque dans les années cinquante, Reynold est considéré en Suisse et à l’étranger comme le principal écrivain de Suisse romande avec Ramuz, avant que le vieillissement d’une œuvre, les remises en cause de la deuxième Guerre mondiale et l’émergence de concurrents viennent lentement le reléguer au second plan. Le but de cette thèse est d’étudier comment Reynold a été le principal acteur d’une poésie helvétiste renouvelée destinée à ré-enchanter tant le singulier que le collectif. Cette relecture des œuvres de Reynold fait assister à la forge d’une identité qui esquisse une quête lyrique de soi, une refondation du lieu d’origine et une tentative épique. Si la poésie elle-même inclut une expression du politique et une ontologie, l’œuvre poétique de Reynold montre les conditions de réalisation et les contradictions d’une poésie d’inspiration nationaliste en Suisse, de son esquisse à son effacement/dépassement, au rythme des événements historiques et de l’évolution intellectuelle et culturelle du début du XXe siècle. / This thesis deals with the French litterature in French-speaking Switzerland and focuses on Gonzague de Reynold (1880-1970), comrade of some famous writers like C.F. Ramuz and Ch. A. Cingria and one of the actors of the French-speaking Switzerland literary revolution at the beginning of the XXth Century. In an extensive but uneven work particulary devoted to some historical and sometimes political essays, a limited corpus covering the contemporary period which is named "La Voile Latine" (1904-1901) and from the First World War to the interwar years has been chosen.Between 1904 and 1931, Reynold gives literary production a significant place just before being caught by catholic and/or nationalist action, political essays writing and finally the European idea. From "L'Âge d'or" (1898), "Au pays des Aïeux" (1904) to "Conquête du Nord" (1931) by way of "Cités et pays suisses" (1914-1920), "Contes et légendes de la Suisse héroïque" and many poems written in verse or prose, all these different works give the writer the status of poet although his image will soon be in competition with his reputation of an intellectual and a historian.Up to the fiftees, Reynold used to be considered inland and abroad as the main writer in French-speaking Switzerland just as Ramuz. But the ageing of a literary production and the new questioning after World War II push him progressively into the background. The aim of this thesis is to study how Reynold was the main actor of a new form of Swiss poetry destined to re-enchant the person as well as the people.This poem shows the building of one's identity by means of a lyrical quest of oneself, a reconstruction of the original place, an epic attempt. Reynold's poetry eventually shows the conditions of realisation and the contradictions of a poetry inspired by Swiss nationalism from its draft to its eradication/overtaking, at the pace of the historical events and cultural/intellectual evolution at the beginning of the XXth Century.

Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.

Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.

Thesis (M.A.)--Memorial University of Newfoundland, 2001. / Bibliography: leaves 98-104.

Thesis (Ph. D.)--University of Exeter. / Includes bibliographical references (p. 207-210).

Thesis (Ph. D.)--Columbia University. / "Selective bibliography": p. [172]-177.