Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d’introduction et d’interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les « Trois Grâces » de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l’élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d’abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l’influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l’introduction et l’interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l’état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les « Trois Grâces » de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n’est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l’extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques. / This piece of research concerns the modern French poetry and its impact on the new Chinese poetry in the first period of introduction and interpretation of modern Western literature in the 1920s and early 1930s in China. We seek to demonstrate how the “Trois Grâces” of the modern French poetry: Baudelaire, Rimbaud and Lautréamont were introduced in China and what is their influence on the development of the new Chinese poetry. Thus, we will show first how Baudelaire, Rimbaud and Lautréamont express the “culte du moi” and the “culte du Beau” by their poetry and their game of depersonalization and pluralisation of the self. Next, we shall examine the influence of Western literature on the construction of the new Chinese literature in the 1920s; the introduction and interpretation of the French symbolist poetry and its influence on the theoretical level as well as practical on the new Chinese poetry and Chinese Symbolist poets: Li Jinfa, Mu Mutian, Wang Duqing and Dai Wangshu. Finally, we shall show the case of Lautréamont in China, his absence in the years 1920-1930 and the state of “Lautréamontienne” research in China in the last three decades. Our thesis concludes therefore by showing the “Trois Grâces” of the new Poetry do not have all the same prestige with the Chinese poetic world in the years 1920-1930 and its interpretation of modern French poetry does not lead to adoption of a whole attitude of poetic creation of the modern French poetry, but to a transformation from a poetic dynamism imposed by outside impact to a intern creative dynamism of Chinese poetry, corresponding to the clear intentions guided by the system of literary and moral value of Chinese literary translators and interpreters of different ages.

Ce projet d’édition et d’étude du Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC. de Claude Fauchet est accompagné d’un commentaire du livre I. Publié en 1581, le Recueil de Claude Fauchet se donne pour mission de retracer l’origine de la poésie, de la langue française, de la rime et du roman ; un objectif précisé dès son titre et auquel répond le livre I. C. Fauchet entreprend de retracer ces genèses multiples sous un angle nationaliste. La haute estime qu’il a vis-à-vis de son pays transparaît à de nombreuses reprises, notamment lorsqu’il développe l’exportation internationale de la culture française, l’influence des poètes français sur leurs condisciples européens, la précocité littéraire de la langue vernaculaire française, etc. Toutes ces informations sont données selon une progression diachronique : sont d’abord précisées l’origine de la parole, puis celle du langage et de la langue, vient ensuite la diversification de celle-ci en idiomes divers et enfin les causes expliquant les mutations dont ils sont l’objet. Sont également développées dans le Recueil l’émergence et l’évolution de la poésie : sa naissance est dite grecque grâce à l’excellence des productions helléniques qui ont servi de modèles aux Romains. C. Fauchet distingue ensuite deux types de poésie : celle de langue latine et celle de langue vernaculaire. Alors que la première répond à un impératif de mesure et de quantité ; la seconde nécessite quant à elle de la mesure et du son. Pour cette raison, c’est à la poésie vernaculaire que revient l’émergence de la rime. L’ensemble des réflexions qui constituent le Recueil sont par ailleurs traitées de manière scientifique : C. Fauchet prouve sans cesse ce qu’il affirme par la caution d’auteurs et de textes variés manifestant l’étendue de son érudition ; il s’oppose également à tout ce qui relève du mythe et de l’invraisemblance, préférant aux discours fabuleux des explications rationnelles. En tant qu’humaniste, C. Fauchet tient à diffuser largement ses savoirs, c’est pour cette raison qu’il traduit presque systématiquement les citations qu’il emprunte, que celles-ci soient grecques, latines ou en vieux-haut-allemand. En aucun cas, le Recueil ne se veut polémique : chacune des positions est subtilement exposée et les réprobations deC. Fauchet sont toujours exprimées avec modération. Le Recueil est donc une œuvre riche, traitant de thèmes variés, et engagée dans la défense de la langue française. C’est d’ailleurs afin d’en conserver les premiers monuments littéraires que le livre II trouve sa raison d’être : afin de les préserver, C. Fauchet a recopié de nombreux extraits de textes de trouvères antérieurs à 1300 ; c’est uniquement grâce à lui que certains ont été conservés. / This project of an edition of the Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC by Claude Fauchet comes with a commentary of the first book. Published in 1581, le Recueil, is expected to trace the origin of poetry, of the French language, rhyme, and novel : an objective which is clearly set in its title and accomplished in the first book.C. Fauchet undertakes this multiple genesis under a nationalist point of view : all of his work is tinged with patriotism. The high esteem he has for his country shows on numerous occasions, especially when he explains the international export of French culture, the influence of French poets on their European peers, the literary precocity of its vernacular language, etc. All these elements are unfolded in a diachronic progression : first the origin of the word and that of language ; then comes its diversification in various idioms ; and, finally, the causes for these variations. Also developed in the Recueil, is the emergence and evolution of poetry, said to be of Greek origins thanks to the excellence of Greek productions, which have served as models to the Romans. C. Fauchet makes a distinction between two types of poetry: Latin and vernacular. While the first addresses the need for measure and quantity, the latter requires measure and sound. For this reason, rhyme blooms in vernacular poetry. Besides, the sum of reflections which make up the Recueil are treated scientifically :C. Fauchet constantly proves what he says by the authority of authors and various texts demonstrating the extent of his erudition ; he also opposes anything mythical or implausible, preferring rational explanations to fables. As a humanist, C. Fauchet wishes to widely disseminate his knowledge ; this is why he almost invariably translates his quotes from Greek, Latin or Old High German. In no case is the Recueil meant to be controversial : each position is subtly exposed and C. Fauchet’s disapproval is always expressed with moderation. Therefore, the Recueil is a rich work, covering various themes, and is committed to the defence of the French language. It is also in the preservation of the first literary monuments that the second book finds its reason for being : to preserve them, C. Fauchet has copied many extracts from texts written by trouvères prior to 1300 ; it is exclusively thanks to him that some are preserved.

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Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèse. / This thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry.

The central idea of this study is an examination of the transformation of the image of the poet in different generations. My thesis problem is that the poet is dynamic, reflecting both the self-image and reception of society at different times. I collected data from many different sources- the primary sources were memoirs, poetry, short stories, novels and original documents from the Canadian Jewish Congress Archives and by speaking with historians about A.M. Klein, Irving Layton and Leonard Cohen. The secondary sources used were scholarly books about the poets articles from the Canadian Jewish press and documentaries. I used literary analysis for the poetry and I took a social-historical approach in the examination of the poets' relationship to the community and biography. The social historical approach and the literary approach were both used in this study to analyze the succession of Canadian Jewish poets. As an original contribution to the field, this study categorizes the three poets in a succession: Klein is the Jewish poet, Layton is the Canadian Jewish poet and Cohen is the spiritual guru, all reflecting the changing situation for Canadian Jews. I examine the first generation poet in this succession of gifted Canadian Jewish poets, A.M. Klein, the second generation, Irving Layton and the third generation poet, Leonard Cohen. Specifically, I argue that the roles and the reception to these poets have changed in the Jewish press as a result of changing times. As the years progress and the situation for worldwide Jewry becomes more stable with greater tolerance in a multicultural society, the poet moves away from the identification as a Jewish poet. In Klein's generation he is labeled as a Jewish poet. Layton fights the label of a Jewish poet and through controversy and celebrity he is recognized as a Canadian Jewish poet. Leonard Cohen re-defines the category of a Canadian Jewish poet in favor of a spiritual guru. This study provides an overview of the times and the issues that each poet faced in their generation. The first part of each chapter is devoted to a brief biography and an exploration of the way the Jewish community responded to the poets in terms of roles that they wanted them to undertake and the own reception to the poets in the local Jewish press. It is interesting that each poet served a different function in different generations as a response to the needs of the community. The second section of each chapter is an examination of the poets' self-image as depicted in their writing. All of the poets viewed themselves in the same manner, as spokesmen, controversial figures and as modern poets similar to ancient biblical figures. This section includes the ways the poets viewed their relationship with the community and their relationship to Judaism as a way of shaping their self-perception. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

Italian poet Vera Gherarducci published her second book, Giorno Unico (A Single Day), in 1970. This project consists of translations of 24 of these poems, a translation of the book’s introduction by Pier Paolo Pasolini, and a critical translator’s introduction. The critical introduction positions the work within the context of post-war Italian women’s poetry; explores the legacy of mental health in literature and its ties with diary writing and gender; and discusses specific translation strategies related to these issues. Giorno Unico deals extensively with themes of mental health, focusing on struggles with depression, suicidal thoughts, marital problems, and maternal anxieties. Such topics place the work in conversation with many other post-war women writers in Italy grappling with new conceptions of womanhood and the burgeoning Italian feminist movement. Themes of mental health are also expressed by the poems being written in the form of an intimate diary, though the temporal mapping is complicated by flashback and circular narration. As the title suggests, these poems come to resemble one long, never-ending day, manifesting in the recurrence of words and phrases, frequent mental health metaphors of being trapped inside, and the repetition of monotonous household work. After contextualizing the work’s primary characteristics, I then frame my own translation approach that looks to foreground the presence of mental health and preserve the characteristics of the diary form. This approach was influenced by feminist translation theorists such as Sherry Simon and Barbara Godard who challenge the monolithic nature of both source and target texts, and endorse the recovery of forgotten women writers through translation. In my principal theoretical assertion, I push against Lawrence Venuti’s discussion of the inherent violence enacted in translation, and conceive of what I term a non-lobotomizing translation approach to Giorno Unico. This framework rejects a masking of mental health in the collection, instead underscoring such taboo themes. In some cases, I choose more clinical translations of terminology to directly reference mental health discourse; in others I select more dated terms, such as “madness,” to gesture to a different framing of mental illness during the writing of Giorno Unico.

Earth Ascending is a composition in three movements scored for female voice, electroacoustic music, and video. Composed in the Year 2000, Earth Ascending lasts approximately sixteen minutes and was created specifically for live performance in which all three elements combine to create a sonic and visual environment. As such, no single element has greater importance than any other, with each of the three performing forces assuming a foreground role at various times throughout the work. Earth Ascending is defined by a single poem written by contemporary female British poets Jeni Counzyn, Jehanne Mehta, and Cynthia Fuller. The movements are named according to the title of each poem: Earth-Body, Light-Body; Wringcliff Beach; and Pool. The movements are separated in performance by five seconds of silence and black on the video screen. The paper accompanying the score of Earth Ascending is divided into five chapters, each discussing in detail an element central to the composition itself. The Introduction presents background information, general ideas, and approaches undertaken when creating the work. Chapters 1 through 3 investigate in detail the content of the electroacoustic music, voice, and video. Chapter 4 discusses scoring techniques, revealing approaches and methods undertaken to solve issues relating to notation and ways of accurately representing sound, pitch, and rhythm within the context of a mixed media work. Chapter 5 presents information relevant to the live performance of the piece.

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[pt] A dissertação apresenta uma incursão pelos poemas de duas poetas da diáspora negra, Carol Dall Farra, do Brasil, e Porsha Olayiwola, dos Estados Unidos, numa investigação sobre processos do sentimento de não pertencimento na constituição de subjetividades de mulheres negras a partir de reflexões acerca de elementos de diferenciação, como raça, gênero, classe, religião e orientação sexual. Em formato de ensaios, pretende-se discutir economia onomástica, assim como a influência da cultura negra nas línguas coloniais, a heterossexualidade compulsória e outras experiências relacionadas à diáspora negra, cuja resistência, aqui, desponta nas performances poéticas das autoras no slam poetry, que, nesse sentido, funciona como uma ferramenta de construção de identidades e da partilha do sensível, formulação de Jacques Rancière, em que os interlocutores dos poemas são muitas vezes as mulheres negras, que, assim como as poetas, constroem suas subjetividades com os poemas declamados. Sob a luz dos escritos de intelectuais como bell hooks, Audre Lorde e Lélia Gonzalez, discute-se as disputas que as poetas escolhidas escolhem travar para forjar subjetividades e criar vínculos. / [en] The dissertation presents an excursion into the poems of two poets from the African diaspora: Carol Dall Farra, from Brazil, and Porsha Olayiwola, from the United States, in an investigation into processes of the feeling of non-belonging in the constitution of subjectivities of black women upon reflections on elements of differentiation, such as race, gender, class, religion and sexual orientation. These essays discuss onomastic economics, as well as the influence of Black culture on colonial languages, compulsory heterosexuality and various experiences related to the African diaspora, whose resistance, in this case, emerges in the poetic performances of the authors in slam poetry , which, in this sense, function as tools for building identities and partage du sensible, formulation by Jacques Rancière, in which the interlocutors of the poems are often black women, who, such as the poets, assemble their identities in virtue of the recited poems. In the light of the writings of intellectuals such as bell hooks, Audre Lorde and Lélia Gonzalez, the disputes that these poets choose to wage to forge subjectivities and create bonds are discussed.