As a result of its association with marginalized groups, the genre of fable is sometimes presented as accurately reflecting the voice of the Other, although the fable has traditionally always been a vehicle for the elite to establish, explain and justify their positions. While the fable is increasingly associated with the Other from the 1st century CE, the genre is still appropriated by upper-class male authors as a means of defining their positions and constructing their own ideal political, social and literary worlds. This study will focus on the voicing of the Aesopic fable in the literature of the 1st-3rd centuries CE, primarily in authors and works that incorporate one clearly identifiable fable exemplum told at length in the text. Elite authors in this period used the fable as a means of communicating their views of behavioural expectations, not only by appropriating a genre that they have characterized as Other, but also by the voicing of fable through marginalized figures. This appropriation of the othered genre and voice allows for an exploration of boundaries that in the end will reaffirm the established order. The elite appropriation of fable as a means of social control over marginalized groups reflects an uneasiness about their own positions and the increasing social mobility beginning in the 1st century CE. This study of the appropriation of the othered genre will contribute to our understanding of how elite authors dealt with anxieties about potential and actual disruptions in their expectations of the socio-political reality.

As a result of its association with marginalized groups, the genre of fable is sometimes presented as accurately reflecting the voice of the Other, although the fable has traditionally always been a vehicle for the elite to establish, explain and justify their positions. While the fable is increasingly associated with the Other from the 1st century CE, the genre is still appropriated by upper-class male authors as a means of defining their positions and constructing their own ideal political, social and literary worlds. This study will focus on the voicing of the Aesopic fable in the literature of the 1st-3rd centuries CE, primarily in authors and works that incorporate one clearly identifiable fable exemplum told at length in the text. Elite authors in this period used the fable as a means of communicating their views of behavioural expectations, not only by appropriating a genre that they have characterized as Other, but also by the voicing of fable through marginalized figures. This appropriation of the othered genre and voice allows for an exploration of boundaries that in the end will reaffirm the established order. The elite appropriation of fable as a means of social control over marginalized groups reflects an uneasiness about their own positions and the increasing social mobility beginning in the 1st century CE. This study of the appropriation of the othered genre will contribute to our understanding of how elite authors dealt with anxieties about potential and actual disruptions in their expectations of the socio-political reality.

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La sibylle fut un vrai prophète. Le présent travail s’interroge sur cette idée amplement diffusée à la fin du Moyen Âge, en l’analysant sous trois rapports : un rapport à l’Antiquité, d’abord, parce que les textes présentent la prophétesse comme une voix émanant des temps les plus lointains ; à l’oracle, ensuite, car le Moyen Âge utilise la parole de la sibylle pour lui faire proférer des prophéties relatives à l’histoire du Salut ou à l’histoire des hommes ; au genre (au sens de gender), enfin, puisque l’accès de la sibylle au savoir et au sacré est configuré par les différents systèmes de représentations de la femme médiévale. En s’appuyant sur des textes manuscrits inédits et des œuvres littéraires connues, cette recherche s’attache à montrer que la sibylle, oscillant entre fable et prophétie, a été conçue de manière continue comme une prophétesse du Christ, et a pu permettre aux auteurs de mettre en jeu son autorité de manière diverse. / The Sibyl was a true prophet. This study questions that commonplace idea from the Late Middle Ages, following three axes. First, it examines how the Sibyl’s speech related to Ancient times – the texts depict the prophetess’s voice as one originating in olden times. Second, it details how her words have been linked to oracles, because the Middle Ages have used her speech to deliver prophecies foretelling the history of salvation and the history of mankind. Third, it considers the relation between her voice and gender, since the Sibyl’s ability to access knowledge and reach the sacred has been determined by the various representations of the mediaeval woman. This work is based on unpublished manuscripts as well as better-known literary works. It shows that the Sibyl, oscillating between myth and prophecy, has been consistently regarded as prophetess of Christ and has enabled writers to stage her authority in different ways.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Cette thèse se propose de présenter et d’analyser les discours prescriptifs des fabulistes du XVIIIe siècle, en commençant par celui de Houdar de La Motte qui, dans ses Fables nouvelles, en 1719, s’est posé en adversaire admiratif de La Fontaine, inégalable poète mais moraliste très contestable. Après avoir présenté ce recueil fondateur dans le contexte de la crise générale de la poésie que connaît la France à l’heure de la Qurelle d’Homère, l’on étudie les idées de l’audacieux fabuliste, soucieux d’établir des règles pour réaliser des apologues en vers qui soient conformes à l’objectif didactique qui, selon La Motte, est une priorité dans ce genre d’écrire. Quatre des successeurs de La Motte, dont les recueils sont parus de 1729 (Richer) à 1792 (Florian), ont été retenus pour examiner si cette première poétique prescriptive a été suivie ou contestée par des poètes qui s’y réfèrent forcément, comme d’ailleurs ils se réfèrent à La Fontaine, modèle écrasant qu’on se risque parfois à analyser pour percer son secret ou qu’on se contente d’admirer pour s’autoriser à ambitionner une place après lui. / This thesis proposes to present and analyze the prescriptive discourses of the eighteenth-century’s fabulists, starting with the one of Houdar de La Motte, who in his new Fables in 1719 posed as an admiring opponent of La Fontaine, matchless poet but a very questionable moralist. After presenting this founding book in the context of the general crisis of poetry in France at the time of Homer's Qurelle, we study the ideas of the daring fabulist, anxious to establish rules to make apologues in verses that are in conformity with the didactic objective which, according to La Motte, is a priority in this kind of writing. Four of the successors of La Motte, whose collections were published from 1729 (Richer) to 1792 (Florian), were retained to examine whether this first prescriptive poetic was followed or disputed by poets who necessarily referred to it as they would refer to La Fontaine, an overwhelming model that one sometimes dares to analyze in order to pierce his secret or that one merely admires to allow himself to ambition a place after him.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

ABSTRACT The modern fable differs from the classic fable in terms of style, form, and content. Translating the modern fable likewise diverges from translating the classic fable in terms of the concerns that a translator might have along the way. This thesis serves as a case study on the practice of translating the modern fable by using On Beş Köpek, my Turkish translation of André Alexis's Giller Prize-winning 2015 modern fable, Fifteen Dogs, as a paradigm. This thesis is built upon six chapters, the first and the last of which are designed to be introductory and conclusive respectively. In the second chapter, the apologue/fable is defined and a historical review is provided from Aesop's fables to the modern fable. The third chapter provides an analysis of the source text, i.e. Fifteen Dogs, by mainly discussing the “fabulous” characteristics it displays. The fourth chapter is my complete Turkish translation, i.e. On Beş Köpek, whereas the fifth chapter presents an analysis of my Turkish translation within the framework of Gideon Toury's descriptive methodology. RÉSUMÉ La fable moderne diffère de la fable classique en matière de style, de forme et de contenu. La traduction de la fable moderne se distingue donc également de la traduction de la fable classique quant aux préoccupations du traducteur au moment de traduire celle-ci. Cette thèse sert d’étude de cas relative à la pratique de la traduction de la fable moderne en proposant On Beş Köpek, ma traduction en turc de Fifteen Dogs (la fable moderne et récipiendaire du prix Giller qu’André Alexis a écrite en 2015) comme exemple de paradigme. Cette thèse compte six chapitres, dont le premier et le dernier agissent respectivement comme introduction et conclusion. Dans le second chapitre, l'apologue/la fable est définie, et un survol historique d'Ésope à la fable moderne est ensuite offert. Le troisième chapitre fournit une analyse du texte source – Fifteen Dogs – traitant principalement des caractéristiques «fabuleuses» qu'il contient. Le quatrième chapitre renferme ma traduction complète en turc – On Beş Köpek – tandis que le cinquième chapitre présente une analyse de ma traduction suivant le cadre de méthodologie descriptive proposé par Gideon Toury.

Orientador: Benedito Antunes / Banca: Alice Áurea Penteado Martha / Banca: Ana Maria Domingues de Oliveira / Resumo: O presente trabalho tem como principal objetivo o estudo do processo de reescritura das fábulas por Monteiro Lobato. Desta forma, realizamos na parte inicial uma abordagem sobre a história da fábula e seus conceitos, verificando também a presença do gênero na literatura infantil. Considerando que La Fontaine é a principal referência de Lobato em sua tarefa de reescrever fábulas, dedicamos o segundo capítulo ao estudo do estilo de escritura do fabulista francês e de seu contexto de produção. Por último, partimos então para o estudo da obra Fábulas de Monteiro Lobato. Entre outros fatores, verificamos que o escritor chega a modificar a estrutura tradicional das fábulas e reserva um espaço para a participação de "ouvintes". Como demonstração prática do estilo de Lobato, analisamos as fábulas "A cigarra e as formigas" e "O lobo e o cordeiro". / Résumé: L'objectif principal de ce travail est l'étude du procédé de réécriture des fables employé par Monteiro Lobato. Ainsi, dans la première partie, on aborde l'histoire de la fable et ses concepts, en vérifiant aussi la présence du genre dans la littérature infantine. Tout en sachant que La Fontaine est la source principale de référence pour Monteiro Lobato dans sa tâche de réécrire des fables, on dédie le deuxième chapitre à l'étude du style d'écriture de l'écrivain français et de son contexte de production. Pour finir, on va étudier l'oeuvre Fábulas de Monteiro Lobato. Parmi d'autres points, on vérifie que l'auteur a même modifié la structure traditionnelle des fables et garde un espace pour la participation des auditeurs. Comme démonstration pratique du style de Lobato, on analyse les fables "A cigarra e as formigas" (La cigale et les fourmis) et "O lobo e o cordeiro" (Le loup et le mouton) / Mestre

Poezja dla dzieci jest to dziedzina twórczości literackiej wyróżniana ze względu na stosunkowo wyrazistą kategorię adresata. Za poezję dla dzieci uznaje się jedynie utwory intencjonalnie kierowane do dzieci. W myśl klasyfikacji historyka literatury J. Cieślikowskiego najbardziej uchwytne są te formy poezji dla dzieci, które mają odpowiedniki w folklorze: kołysanki, wyliczanki, rymowanki itp. Rozwój polskiej poezji dla dzieci charakteryzuje wielość tendencji, ujawniających się w różnych modelach wierszy: od dydaktycznego S. Jachowicza, przez pieśniowy M. Konopnickiej, ludowy J. Porazińskiej, „dziecięcy” K. Iłłakowiczówny, lingwistyczny J. Tuwima i J. Brzechwy, medytacyjny J. Kulmowej, refleksyjny J. Ratajczaka, do kreacyjnego A. Kamieńskiej, W. Chotomskiej i D. Wawiłow. Punktem dojścia jest liryka dziecięcego punktu widzenia. W utworach młodszej generacji poetów wiersze dla dzieci tracą często regularny rytm i rym, na plan pierwszy wysuwa się obraz poetycki, ton refleksyjny oraz zabawa słowami i fabułami utworów. Bajka – to jeden z najczęściej uprawianych gatunków literatury dydaktycznej. Ze względu na walory dydaktyczne (jasno sprecyzowany morał) oraz przystępność formy (niewielka objętość) utwory należące do tego gatunku występują od początku rozwoju literatury dla dzieci po współczesność. W obrębie bajki wyróżnia się zwykle dwa podgatunki: bajka magiczna, czyli baśń i bajka zwierzęca. Za twórcę tej ostatniej uważa się bajkopisarza greckiego Ezopa, pochodzącego z Azji... [toliau žr. visą tekstą] / Poezija vaikams - tai literatūrinės kūrybos sritis, išskirta dėl konkretaus adresato. Vaikų poezija laikomi kūriniai, skirti būtent vaikams. Literatūroje dominuojanti estetinė funkcija vaikų poezijoje modifikuojasi į liaudinę bei didaktinę funkcijas ir įvairias jų atmainas. Labai svarbi funkcija - mažojo adresato kontakto užmezgimas ir palaikymas su pasakotoju. Vaikų poezijoje dažnos eiliuotos epinės formos su pramogine fabula, anekdotu ar eiliuotu dialogu. Pasak literatūros istoriko J. Cieslikovskio, patraukliausios yra tos poezijos vaikams formos, kurios turi atitikmenis folklore: lopšines, skaičiuotės, žaidinimai ir t.t. Vaikų poezija vystėsi nuo paprastų formų, nuo paprastų žaidinimų, kuriomis linksmino ar migdė vaikus, iki vaikiškų skaičiuočių bei dainelių, inspiruotų folkloro, pasakų, pasakaičių - tradicinės liaudies pasakos atmainų, pateiktų miniatiūrų ar eilių forma. Lenkiškos poezijos vaikams raidoje yra įvairių tendencijų, būdingų skirtingiems eilėraščių modeliams: nuo S. Jachovičiaus didaktinio, M. Konopnickos dainingojo, J. Porazinskos liaudiškojo, K. Ilakovičuvnos „vaikiškojo“, J. Tuvimo ir J. Bžechvos lingvistinio, J. Kulmovos meditacinio, J. Ratajčako refleksinio iki A. Kamenskos, V. Chotomskos ir D. Vavilovos originaliųjų. Atspirties taškas lyrika, atitinkanti vaikų pasaulėžiūrą. Jaunesniosios poetų kartos eilėraščiai vaikams dažnai netenka reguliariojo ritmo ir rimo, dėmesys kreipiamas į poetinį vaizdą, refleksinį toną, taip pat žodžių žaismą ir fabulą... [toliau žr. visą tekstą] / Poetry for children is the sphere of literature which is singled out for its clear audience category. The poetry is intended for children. Esthetical function usually prevailing in literature is modified in poetry for children to become didactical. It is important to maintain a relation between the young listener and the narrator. Paradramatical forms, anecdotes, epical forms with attractive narration are met in poetry for children. According to J.Cieslikowski, literature historian, the most acceptable are the forms of poetry which have equivalents in folk: lullabies, counting-out rhymes and e. c. Poetry for children developed from the simplest forms used to entertain or to lull kids, through counting-out rhymes to more complicated: songs inspired by folk, then fables, and finally, rhymed mini-tales intended for kids. Development of Polish poetry for children in characterized by a number of tendencies which appear in different models of poems: starting with didactical poems by S.Jachowicz, through songlike poems by M.Konopnicka, folk poetry by J.Porazinska, “childish” poetry by K.Illakowiczowna, linguistic poetry by J.Tuwim and J.Brzechwa, meditation poetry by J.Kulmowa, reflection poetry by J.Ratajczak, to creational poetry by A.Kamienska, W.Chotomska and D.Wawilow. A lyric of children’s point of view is the destination. Poems by younger generation of poets often miss regular rhythm and rhyme, poetical picture, reflective tone as well as play of words and plots of the... [to full text]