La présente thèse a pour ambition de présenter une nouvelle interprétation de la poésie du principal représentant de la première Renaissance en Espagne, Garcilaso de la Vega (ca. 1499-1536). Bien que partiellement influencée par le Canzoniere de Pétrarque, la cohérence de la poésie de Garcilaso n’émane pas de l’imitation de celui-ci. L’unité de son projet est rendue possible par l’invention d’une nouvelle esthétique, en parfait accord avec l’idéal éthique du courtisan alors formulé par Castiglione (Partie I). De cette poésie, l’Épître à Boscán peut se lire comme le programme. Les parties II et III de la thèse analysent, à partir de la théorie rhétorique et psychologique, l’importance de l’image conçue non comme figure de style, mais comme objet textuel (imago, ou phantasma), respectivement dans les textes d’inspiration pétrarquiste et dans ceux à la forme héritée des modèles antiques. Dans l’esthétique des premiers, cette image est l’image mentale de l’aimée et la poésie décrit ses ravages dans l’esprit de l’amant. Les compositions s’inspirant des Anciens, notamment des élégiaques et de Virgile, privilégient une image de nature artistique, dont la poésie s’évertue à célébrer la splendeur. De l’image de l’aimée à celle du prince, en passant par l’œuvre d’art qui donne de ces images une vision médiatisée, la description devient le lieu principal de la célébration poétique et, conformément à l’idéal de Castiglione, remplit pleinement son rôle épidictique. / This dissertation aims to present a new interpretation of the work of the main poet of the first Spanish Renaissance, Garcilaso de la Vega (ca. 1499-1536). Although it is partially influenced by Petrarch’s Canzoniere, the coherence of Garcilaso’s poetry does not only emanate from its imitation. Its unity is made possible by the poet’s invention of a new aesthetic, plainly in harmony with the ethic ideal designed at that time by Castiglione (1st part). Garcilaso’s Epistle to Boscán may be read as the poetical program of this project. The second and the third parts of the dissertation analyse, within a rhetorical and psychological frame, the importance of the image, conceived not as a stylistic device but as a textual object (imago, or phantasma), either in the texts inspired by the Petrarchists and in those who imitate antique forms. For the aesthetics of the first group, this image is the mental image of the beloved and the poetry pictures the disorder it causes in the lover’s mind. The texts which imitate the Ancients, especially the Elegiacs and Virgil, do prefer an artistic image and try to celebrate its splendour. The image of the beloved and the one of the prince, including those cases in which they are mediated by the charm of the art, determine the poetry as the most important place of the poetic celebration: as defined by Castiglione’s ideal, the poetry fulfils thus its epidictic function.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-05-18T19:36:07Z No. of bitstreams: 1 2012 - Lorena Gouv?a de Ara?jo.pdf: 940209 bytes, checksum: a5ba96f171bd2602a494dc7745456647 (MD5) / Made available in DSpace on 2017-05-18T19:36:07Z (GMT). No. of bitstreams: 1 2012 - Lorena Gouv?a de Ara?jo.pdf: 940209 bytes, checksum: a5ba96f171bd2602a494dc7745456647 (MD5) Previous issue date: 2012-08-30 / CAPES / This work aims to analyze the construction of the Inca past through the works Comments Reales de los Incas (1609) and Historia General del Peru (1617) by Inca Garcilaso de la Vega. As a mestizo and son of the New and Old World the author presents a very peculiar view of the universe. Often having their works understood as antagonistic to the travel reports produced during the sixteenth and seventeenth centuries, the intellectual effort in this paper focuses on the perspective of demonstrate the Gracilaso belief in a unity between the Hispanic and Inca worlds. Through historical mapping produced by Jorge Ca?izares-Esguerra author, the considerations presented by many contemporary intellectuals and internet research, we try to demonstrate the reception of the work Comments Reales de los Incas literate world in Europe, since the sixteenth century to the present. / Este trabalho tem como objetivo analisar a constru??o do passado incaico atrav?s das obras Comentarios Reales de los Incas (1609) e Historia General del Peru (1617) de Inca Garcilaso de la Vega. Como mesti?o e filho do Novo e do Velho Mundo o autor apresenta uma vis?o muito peculiar do universo. Muitas vezes, tendo suas obras compreendidas como antag?nicas ?s cr?nicas de ?ndias produzidos durante os s?culos XVI e XVII, neste trabalho o esfor?o intelectual se concentra na perspectiva de demonstrar a cren?a de Garcilaso em uma uni?o entre os mundos hisp?nico e incaico. Atrav?s do mapeamento hist?rico produzido pelo autor Jorge Ca?izares-Esguerra, das considera??es apresentadas por diversos intelectuais contempor?neos e de pesquisas na internet, tentamos demonstrar a recep??o da obra Comentarios Reales de los Incas no mundo letrado europeu, desde o s?culo XVI at? a atualidade.

Orientador: Ana Raquel Marques Martins da Cunha Portugal / Resumo: Na história dos Andes, o comando das diversas etnias locais coube aos curacas, ou caciques andinos, que exerciam funções que variavam do ritual religioso à guerra. No presente trabalho, realizamos um estudo das representações dos curacas contidas em duas crônicas de autores peruanos concluídas no princípio do século XVII: a Nueva Crónica y Buen Gobierno (1616), de Felipe Guaman Poma de Ayala, e os Comentarios Reales (1609, 1617), de Inca Garcilaso de la Vega. Fizemos um estudo sistemático, levando em conta todas as menções diretas ou indiretas dos curacas nas duas crônicas, cotejando-as com o material historiográfico sobre os curacas. Com o aporte da historiografia, podemos vislumbrar as dimensões do protagonismo das lideranças nativas do Peru registradas em diversas outras fontes alheias às crônicas. Longe de meros intermediários, os curacas agiram nos Andes de modo a garantir seus interesses e legitimar suas posições, como atesta o exemplo do próprio Guaman Poma. / Abstract: In the history of the Andes, the curacas were responsible for the command of the various local ethnic groups. They fulfilled duties that ranged from religious rituals to war. In the present work, we have carried out a study of the representations of the curacas contained in two chronicles written by Peruvian authors in the early seventeenth century: The Nueva Crónica y Buen Gobierno (1616), by Felipe Guaman Poma de Ayala, and the Comentarios Reales (1609- 1617), by Inca Garcilaso de la Vega. We have performed a systematic study, taking into account every direct or non-direct mention of the curacas in both chronicles, siding them with the historiographic material on the curacas. With the historiographic contribution, we have been able to contemplate the dimensions of the role of the native leaders of Peru registered in several other sources besides the chronicles. Far from mere middlemen, the curacas acted in the Andes so as to guarantee their own interests and legitimize their positions, as attested by the example of Guaman Poma himself. / Mestre

Se intenta ofrecer una explicación sociocultural del programa romanista del Inca Garcilaso en función de sus coordenadas biográficas (peruana y española), analizando especialmente su destino andaluz, tanto por sus coordenadas sociales (conquista reciente del mundo islámico y presencia de conversos judíos) como por las propiamente culturales (clasicismo real y nobiliario, conexión con jesuitas). No se trata, pues, de una solución individual y aislada (por aristocrática), ni tampoco de una opción meramente literaria o religiosa (a pesar de expresarse en esa clave). / In this paper I offer a socio-cultural explanation of Inca Garcilaso’s Romanist program, taking into account the analysis of his biographical anchorages in both Perú and Spain, specially his andalusian experience. To do so, I follow the social events he lived through (the recent conquest of the Islamic world and presence of Jewish converts), as well as the more cultural aspects of his stay in Spain (Royal and nobility classicism, relationship with the Jesuits). By broadening the scope of the interpretation of his texts, we are no longer talking merely about an individual and isolated (if aristocratic) experience, nor about a merely religious or literary option (even if it is expressed in such a way).

Nuestro trabajo tiene como objetivo estudiar algunos tópicos clásicos en la obra castellana de Garcilaso de la Vega, de acuerdo con la conceptualización que venía de la antigüedad grecolatina. Para ello pretendemos estudiar el significado de la tópica en la literatura clásica, los autores que la usaron y la aplicación que Garcilaso le da en su obra. / Our work has as goal to study some classical topics on the Garcilaso de la Vegas Spanish work, according to the concepts that used to come from the Greco Latin Ancient. In order to do that, we hope to study the topics meaning in the classic literature, the authors that used it and the use Garcilaso gives to it on his work.

Nuestro trabajo tiene como objetivo estudiar algunos tópicos clásicos en la obra castellana de Garcilaso de la Vega, de acuerdo con la conceptualización que venía de la antigüedad grecolatina. Para ello pretendemos estudiar el significado de la tópica en la literatura clásica, los autores que la usaron y la aplicación que Garcilaso le da en su obra. / Our work has as goal to study some classical topics on the Garcilaso de la Vegas Spanish work, according to the concepts that used to come from the Greco Latin Ancient. In order to do that, we hope to study the topics meaning in the classic literature, the authors that used it and the use Garcilaso gives to it on his work.

La presente investigación analiza el episodio correspondiente al relato del naufragio y las peripecias de Pedro Serrano, el cual se encuentra ubicado en el capítulo VIII del Libro I, de la primera parte de los Comentarios Reales (1609) del Inca Garcilaso. En este estudio se propone que el episodio de Pedro Serrano se inserta dentro del discurso del Inca Garcilaso para responder a los siguientes objetivos específicos. En primer lugar, para realizar una inversión de la categoría de lo salvaje; en segundo lugar, para representar una alegoría del encuentro entre conquistadores y americanos y; finalmente, para proponer una alternativa de conciliación posible entre ambos mundos, el europeo y el americano. Se comienza indagando una aproximación metodológica para el estudio de este episodio donde se recoge el debate en torno a la naturaleza histórica y literaria del mismo. A continuación, se analiza el contexto en que se enmarca el episodio y se establece su clasificación como fábula historial. La definición de este concepto se fundamenta en la influencia neoplatónica que recibe el Inca, principalmente, por el poeta judío Judá Abravanel y por Marsilio Ficino; asimismo, se teoriza este concepto según lo planteado por Carmela Zanelli sobre las propuestas de Efraín Kristal. Finalmente, se analizan los múltiples niveles de significación contenidos en el episodio de Pedro Serrano, examinando los elementos que componen las distintas metáforas presentes en la fábula historial con la finalidad de desentrañar la verdad teologal que contiene.

The intimate relationship one develops with his or her native language is an experience which cannot be replicated through any amount of education. Diction, vocabulary, intonation and the connotations which accompany the many facets of language all develop along with us as we progress through life's experiences. Because of this deeply ingrained personal understanding, each individual's perspective towards a work of art, namely poetry, is completely unique to his or her experiences with the language in which it is written. Therefore, no amount of diligent translation can make a poem inhabit the same sentiment and effect in any language other than the one it was originally written in. This phenomenon will be explained in terms of several sonnets written by Garcilaso de la Vega. While the sonnets were originally written in Spanish, several translations into English will be explored in order to express the downfalls and limitations inherent in poetic translation.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Nov. 9, 2007). PDF text: ca. 185 p. UMI publication number: AAT 3258738. Includes bibliographical references. Also available in microfilm and microfiche formats.

This thesis presents the first sustained analysis of the reception of the Aristotelian golden mean in early modern Spanish literature. It argues that the critically-neglected ethical credo of moderation was an important part of the classical inheritance on which Golden-Age authors frequently drew, and that despite its famous origins in moral philosophy rather than literature, it was subject to just the same kind of imitative reworking as has long been acknowledged for literary predecessors. The analysis is divided into two sections. The first takes a synoptic view of the period, assessing the transmission of Aristotle's doctrine to the Renaissance and exploring what it meant to the Golden-Age mind. That includes identifying a particular early modern reformulation of the mean, which I argue was an important factor in the popularity of the Icarus and Phaethon myths, as analogues for Aristotle's moral. The body of the thesis then comprises three case studies of the role of moderation in works which span the period's chronological and generic range: the poetry of Garcilaso; Calderón's 'El médico de su honra'; and Gracián's 'Criticón'. These studies explore three important general trends in the reception of the mean: the association of excess and moderation with particular literary models; the incorporation of the mean into Christian thought; and its parallel existence as non-technical, commonplace wisdom. However, each chapter also constitutes an innovation within its own field, offering a reassessment of Garcilaso's relationship to literary tradition; a re-reading of the characters and plot structure of 'El médico', including the controversial King Pedro; and an analysis of the elusive moral approach behind Gracián's allegorical novel. The mean is thus remarkable for both the breadth and depth of its incorporation into literature, and a focus on its treatment offers substantial new insights into some of the canonical works of the age.