Le thème de la poésie galante en Andalousie au XIème siècle fait objet de notre étude, une étude à la fois historique et analytique, ayant principal auteur, Ibn Zaydùn. Nous nous sommes consacré au genre poétique, le ghazal (poésie amoureuse) dans l'œuvre poétique d'Ibn Zaydùn.Le corpus de cette étude comporte la vie politique et poétique d'Ibn Zaydùn d'après ce que nous ont transmis les biographes, les auteurs d'anthologies, ou les commentateurs de ses ouvrages. Nous avons vu un lettré érudit, amoureux dune princesse (Wallâda), ministre de l'état oligarchique de Cordoue. Son expérience sentimentale avec Wallâda et les souffrances qu'il avait vécues à la suite de leur séparation, avaient bien été à la base dune poésie spontanée, dépourvue de tout artifice. Nous avons été en présence dune production née de sentiments amoureux réels, où le chant poétique est issu d'un désir, d'une nostalgie, d'une aspiration ou d'un besoin intérieur. Nous avons étudié un poète qui communiquer avec sa bien-aimée au moyen d'un lyrisme humain qui nous touche en nous faisant partager avec lui sa souffrance, sa déception ou ses extases amoureuses. La nature andalouse, avec sa splendeur, représente la toile de fond sur laquelle notre poète installera ses amours, ses sensations, ses images. / The theme of amorous poetry in Andalusia in the eleventh century is the object of our study,a study of both historical and analytical, with lead author, Ibn Zaydun. We are dedicated tothe poetic genre, the ghazal (love poetry) in the poetic Ibn Zaydun.The corpus of this study involves the politics and poetics of Ibn Zaydun from what we havetransmitted the biographers, the authors of anthologies or reviewers of his works. We haveseen an educated scholar, in love with a princess (Wallâda), Minister of oligarchic state ofCordoba. Her experience with sentimental Wallâda and suffering he had experienced following their separation, had been at the basis of spontaneous poetry, without any artifice.We have been dealing with a generation born of feeling real love when the song comes from apoetic desire, a longing, an aspiration or an inner need. We studied a poet who communicate with his beloved through a human lyricism that touches us by making us share his pain,disappointment or the ecstasies of love. The nature of Andalusia, with its splendor, is the backdrop against which our poet install his loves, his feelings, his images.

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Le thème de la poésie galante en Andalousie au XIème siècle fait objet de notre étude, une étude à la fois historique et analytique, ayant principal auteur, Ibn Zaydùn. Nous nous sommes consacré au genre poétique, le ghazal (poésie amoureuse) dans l'œuvre poétique d'Ibn Zaydùn.Le corpus de cette étude comporte la vie politique et poétique d'Ibn Zaydùn d'après ce que nous ont transmis les biographes, les auteurs d'anthologies, ou les commentateurs de ses ouvrages. Nous avons vu un lettré érudit, amoureux dune princesse (Wallâda), ministre de l'état oligarchique de Cordoue. Son expérience sentimentale avec Wallâda et les souffrances qu'il avait vécues à la suite de leur séparation, avaient bien été à la base dune poésie spontanée, dépourvue de tout artifice. Nous avons été en présence dune production née de sentiments amoureux réels, où le chant poétique est issu d'un désir, d'une nostalgie, d'une aspiration ou d'un besoin intérieur. Nous avons étudié un poète qui communiquer avec sa bien-aimée au moyen d'un lyrisme humain qui nous touche en nous faisant partager avec lui sa souffrance, sa déception ou ses extases amoureuses. La nature andalouse, avec sa splendeur, représente la toile de fond sur laquelle notre poète installera ses amours, ses sensations, ses images.

En los años 1930 y 1940, el filólogo y diplomático italiano Ippolito Galante realizó las primeras ediciones críticas de textos coloniales en quechua, entre ellos el Manuscrito de Huarochirí. Fue también el director fundador del Instituto de Filología de la Universidad Nacional Mayor de San Marcos, donde estableció una cátedra de quechua en 1938. Su legado para la filología y la lingüística quechuas fue importante y duradero, pero también tuvo algunas limitaciones claves. Este artículo examina la carrera de Ippolito Galante y los contextos políticos y culturales de sus proyectos quechuistas, especialmente las reacciones encontradas que provocaron en Lima.Palabras clave: filología quechua, Ippolito Galante, lingüística amerindia, ideologías lingüísticas AbstractIn the 1930s and 1940s, the Italian philologist and diplomat Ippolito Galante made the first critical editions of colonial texts in Quechua, including the Huarochirí Manuscript. He was also the founding director of the Institute of Philology of the Universidad Nacional de San Marcos, where he established a chair of Quechua in 1938. His legacy for Quechua philology and linguistics was significant and durable, but also had some key limitations. This article examines the career of Ippolito Galante and the political and cultural contexts of his Quechuist projects, especially the mixed reactions they provoked in Lima.Keywords: Quechua Philology, Ippolito Galante, Amerindian Linguistics, linguistic ideologies

L’objet de cette thèse est d’étudier les changements qui s’opèrent au cours du XVIIe siècle dans la manière dont les passions sont exprimées et représentées dans la fiction narrative en prose. Avec le passage des longs romans aux nouvelles galantes, la date de 1660 est souvent considérée comme une date charnière pour le genre romanesque. Ce renouveau formel intéresse tout particulièrement la question de l’affectivité – aussi bien sur les plans stylistique, énonciatif que pragmatique. Alors que l’expression pathétique se voit redéfinie par la critique de l’ornement et la promotion du naturel, les vicissitudes du roman semblent en partie corrélées à celles de l’art de parler. Travaillant sur le siècle en son entier, à partir d’un vaste choix de textes fictionnels, de rhétoriques et de poétiques, nous avons voulu décrire une à une les étapes de ce bouleversement. Cette mise en perspective invite à nuancer le caractère novateur de la nouvelle historique et galante. Si le roman baroque se présente comme une anthologie de discours passionnés, on assiste, dès les années 1620, à l’effacement de la voix narrative et, par conséquent, des marques d’une narration émue. De même, le psycho-récit qui est associé dans l’histoire littéraire à La Princesse de Clèves est déjà une technique narrative bien attestée dans le premier XVIIe siècle. Nous inscrivant dans la lignée d’une histoire des formes littéraires, nous souhaiterions proposer une nouvelle périodisation du genre romanesque, à partir de l’examen de la sémiotisation des passions. / This PhD dissertation aims at studying the changes that took place during the XVIIth century in the way passions are expressed and represented in narrative fiction in prose. With the transition from long novels (« longs romans ») to the « nouvelles galantes », the year 1660 is often considered a landmark date for the novelistic genre. This formal renewal has a particular bearing on the question of affectivity, from a stylistic, enunciative and pragmatic point of view. Whereas pathetic expression is redefined by the critique of ornament and the promotion of the natural, the vissicitudes of the novel seem to be partly correlated to those of the art of speaking. By taking the whole century as our object of study, through a vast choice of fictional, rhetoric and poetic texts, we have tried to describe one by one the stages of this evolution. This perspective leads us to qualify the innovative character of the « nouvelle historique et galante ». The baroque novel presents itself as an anthology of passionate discourses. However, from the 1620s on, a fading away of the narrative voice, and consequently of the marks of an emotional narration, take place. Equally, the psycho-narration associated in literary history with the Princesse de Clèves is already a well attested narrative technique in the first XVIIth century. Following the tradition of the history of literary forms, we wish to offer a new periodisation of the novelistic genre, through the analysis of the semiotisation of passions.

A presente pesquisa se concentra na recuperação da acepção setecentista dos conceitos de estilo e de gosto na música. Com base em fontes originais do séc. XVIII, mostra como a idéia de gosto veio a se associar à de estilo no decorrer do século XVIII, passando a constituir a base de termos como gostos reunidos e estilo galante, comumente relacionados à música de Georg Philipp Telemann (1681-1767). Este estudo aborda os estilos e gostos adotados por Telemann a partir de uma perspectiva histórica e, para tanto, utiliza as retóricas clássicas, nas quais se apoiaram os autores setecentistas; os tratados sobre gosto dos séc. XVII e XVIII; as poéticas musicais setecentistas; e as autobiografias de Telemann (de 1718 e 1740). Deste modo, propomos o estudo de ambos os conceitos não apenas a partir de sua perspectiva técnica ou nacional, mas recuperando sua função dentro do contexto da elocutio retórica, envolvendo a idéia de decoro. Nas fontes setecentistas, o uso destes termos se relaciona com os sistemas de adequação entre as diferentes maneiras de escrita em relação à ocasião e ao gosto nacional, ambos regulados pelo decoro. Desta forma, estes conceitos constituem aspectos de uma concepção musical única, que pode ser melhor compreendida a partir da perspectiva dupla do gosto e do estilo. No séc. XVIII, o gosto regulava as maneiras de compor, formando estilos próprios de um determinado grupo, país, ou auctoritas. Os dois principais parâmetros de gosto normativos do período são a música francesa e a italiana. Deste modo, a partir da imitação e do estudo dos modelos estrangeiros formou-se a prática denominada gostos reunidos - mencionada nos escritos setecentistas alemães como gemischten Goût, vermischter Geschmack e Gosto Alemão. Deste processo de imitação, onde tomar algo como modelo não se refere a uma cópia do discurso, mas sim à aprendizagem e exercitação de como tratar tecnicamente um material de origens diversas a fim de gerar algo novo, surge um novo gênero, denominado por Telemann e seus contemporâneos como Concert en Ouverture, ou Concertouverture. / This research is focused on recovering the seventeenth-century sense of the concepts style and taste in music. Based on original works from the eighteenth century, presents the process of association between the ideas of taste and style during the eighteenth century, becoming the basis of terms as mixed tastes and gallant style, often used on descriptions of Georg Philipp Telemann (1681-1767) music. This study analyses the styles and tastes used by Telemann from a historical approach, using the classical rethoric in which the seventeenth-century authors based their writings; treatises about taste from the seventeenth and eighteenth century period; musical poetics from the seventeenth century and Telemann´s autobiographies (from 1718 an 1740). This work proposed the study of both concepts not only from the technical or national perspectives, but recovering its place on the rhetoric context of elocutio tied to the notion of decorum. The use of the previous terms in the works from the seventeenth century relates them to the suitability between different ways of composition for each circumstance and national taste, both ruled by decorum. Hence, these concepts are part of an unique musical notion, that can be better understood from the parallel perspectives of taste and style. In eighteenth century, taste ruled composition forms, generating peculiar styles from certain groups, countries and auctoritas. The two main normative parameters of taste in the period were French and Italian music. Thus, from the study and imitation of foreign styles, the practice known as mixed tastes was shaped - it was mentioned in the seventeenth-century German writings as gemischten Goût, vermischter Geschmack and German taste. From this imitation process, where following something as example was not understood as copying the content, but learning and practising the process of working on materials from various sources with the purpose of building something new, a new genre arises. It\'s called by Telemann and his contemporaries Concert en Ouverture, or Concertouverture.

A presente pesquisa se concentra na recuperação da acepção setecentista dos conceitos de estilo e de gosto na música. Com base em fontes originais do séc. XVIII, mostra como a idéia de gosto veio a se associar à de estilo no decorrer do século XVIII, passando a constituir a base de termos como gostos reunidos e estilo galante, comumente relacionados à música de Georg Philipp Telemann (1681-1767). Este estudo aborda os estilos e gostos adotados por Telemann a partir de uma perspectiva histórica e, para tanto, utiliza as retóricas clássicas, nas quais se apoiaram os autores setecentistas; os tratados sobre gosto dos séc. XVII e XVIII; as poéticas musicais setecentistas; e as autobiografias de Telemann (de 1718 e 1740). Deste modo, propomos o estudo de ambos os conceitos não apenas a partir de sua perspectiva técnica ou nacional, mas recuperando sua função dentro do contexto da elocutio retórica, envolvendo a idéia de decoro. Nas fontes setecentistas, o uso destes termos se relaciona com os sistemas de adequação entre as diferentes maneiras de escrita em relação à ocasião e ao gosto nacional, ambos regulados pelo decoro. Desta forma, estes conceitos constituem aspectos de uma concepção musical única, que pode ser melhor compreendida a partir da perspectiva dupla do gosto e do estilo. No séc. XVIII, o gosto regulava as maneiras de compor, formando estilos próprios de um determinado grupo, país, ou auctoritas. Os dois principais parâmetros de gosto normativos do período são a música francesa e a italiana. Deste modo, a partir da imitação e do estudo dos modelos estrangeiros formou-se a prática denominada gostos reunidos - mencionada nos escritos setecentistas alemães como gemischten Goût, vermischter Geschmack e Gosto Alemão. Deste processo de imitação, onde tomar algo como modelo não se refere a uma cópia do discurso, mas sim à aprendizagem e exercitação de como tratar tecnicamente um material de origens diversas a fim de gerar algo novo, surge um novo gênero, denominado por Telemann e seus contemporâneos como Concert en Ouverture, ou Concertouverture. / This research is focused on recovering the seventeenth-century sense of the concepts style and taste in music. Based on original works from the eighteenth century, presents the process of association between the ideas of taste and style during the eighteenth century, becoming the basis of terms as mixed tastes and gallant style, often used on descriptions of Georg Philipp Telemann (1681-1767) music. This study analyses the styles and tastes used by Telemann from a historical approach, using the classical rethoric in which the seventeenth-century authors based their writings; treatises about taste from the seventeenth and eighteenth century period; musical poetics from the seventeenth century and Telemann´s autobiographies (from 1718 an 1740). This work proposed the study of both concepts not only from the technical or national perspectives, but recovering its place on the rhetoric context of elocutio tied to the notion of decorum. The use of the previous terms in the works from the seventeenth century relates them to the suitability between different ways of composition for each circumstance and national taste, both ruled by decorum. Hence, these concepts are part of an unique musical notion, that can be better understood from the parallel perspectives of taste and style. In eighteenth century, taste ruled composition forms, generating peculiar styles from certain groups, countries and auctoritas. The two main normative parameters of taste in the period were French and Italian music. Thus, from the study and imitation of foreign styles, the practice known as mixed tastes was shaped - it was mentioned in the seventeenth-century German writings as gemischten Goût, vermischter Geschmack and German taste. From this imitation process, where following something as example was not understood as copying the content, but learning and practising the process of working on materials from various sources with the purpose of building something new, a new genre arises. It\'s called by Telemann and his contemporaries Concert en Ouverture, or Concertouverture.