Made available in DSpace on 2014-12-17T15:07:10Z (GMT). No. of bitstreams: 1 FernandoAP_TESE.pdf: 585382 bytes, checksum: a389cddb1a55fc2117f23064915d2fce (MD5) Previous issue date: 2010-12-10 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / A study about the polyphonic aspect of The Lusiads. An epic poem in Portuguese Language written by Lu?s de Cam?es, that narrates the adventure of the journey of Vasco da Gama in the discoverer of new shipping lanes for the ?ndias. Secondarily, tells the historics battles engaged during the process of foundation and consolidation of the Portuguese Empire. The object of the study are the diverse speeches that compose the poem s narration, aiming at to the possible aesthetic relation of the epic poetry of Cam?es with the novelistic prose developed in the modernity, starting with D. Quijote and consacrating it at polyphonic novels written by Dostoi?vski. The sdudy focuses the singularity of Cam?es lies in the elaboration of a narrative structurally epic, but at the same time contains several deviating speeches. Such speeches emphasize the multiple planes and multiple voices (characteristics of novelistic prose) without, however, prejudice the interlinking logical-formal epos, resulting in the monological finish conventional of the epic gender. This feature characterizes The Lusiads as monological literary work, but also shows dialogism and plurilinguism, essentials to the polyphonic phenomenon. Another prominent aspect of the poetry of Cam?es is the relative procedure to the expressiveness of the characters. They are, in the majority, rhetorical creations, which assume, in the speech, human or myhtological characteristics. Stratagem that permits to the poet to emit a multiple faces of vision of the facts told. The analysis of the speeches supports-itself entirely in the polyphonic theory of Mikhail Bakhtin, shall be cited, accessory, viewpoints of others theoretical, as long if it is judged compatible with the theory adopted / Estudo sobre o aspecto polif?nico d Os Lus?adas. Poema ?pico escrito em L?ngua Portuguesa por Lu?s de Cam?es, cujo tema central ? a aventura da viagem de Vasco da Gama no descobrimento de novas rotas mar?timas para as ?ndias, narrando, secundariamente, as batalhas hist?ricas travadas no percurso da forma??o e consolida??o do Imp?rio Portugu?s. O objeto do estudo s?o os diversos discursos que comp?em a narra??o do poema, examinando a poss?vel rela??o de influ?ncia est?tica entre a poesia ?pica camoniana e a prosa romanesca que se desenvolve na modernidade, a partir de D. Quixote, consagrando-se nos romances polif?nicos de Dostoi?vski. O estudo enfoca a singularidade de Cam?es na elabora??o de uma narrativa estruturalmente ?pica, mas que ao mesmo tempo engloba v?rios discursos desviantes (excursos). Discursos esses que revelam a multiplanaridade e a plurivocaliza??o (caracter?sticas da prosa romanesca) sem, contudo, prejudicar o encadeamento l?gico-formal da epopeia, resultando no acabamento monol?gico can?nico do g?nero ?pico. Este aspecto caracteriza Os Lus?adas como uma obra monol?gica, conforme o c?none de ent?o, mas que deixa transparecer tra?os de dialogismo e de plurilinguismo essenciais ao fen?meno polif?nico. Outro aspecto relevante da po?tica camoniana, ressaltado no presente estudo, ? o procedimento relativo ? expressividade das personagens. As personagens-narradoras do poema s?o, na maioria, cria??es discursivas ou ret?ricas, as quais assumem, no discurso, caracter?sticas humanas ou mitol?gicas. Artif?cio que permite ao poeta apresentar uma vis?o multifacet?ria dos fatos narrados. A an?lise dos discursos apoia-se inteiramente na teoria polif?nica de Mikhail Bakhtin, citando, acessoriamente, pontos de vista de outros te?ricos, ? medida que se julgam compat?veis com a teoria adotada

Este trabalho propõe uma leitura dos livros Canções sem metro, de Raul Pompéia, e Missal, de Cruz e Sousa. Investiga a origem do poema em prosa na literatura francesa, bem como analisa os principais problemas relacionados à conceituação desse novo formato. A análise pretende, ainda, identificar os traços mais marcantes dos primeiros livros dedicados ao poema em prosa no Brasil, no que diz respeito aos temas e à estrutura. Ao centrar a discussão sobre a dimensão discursiva do poema em prosa, sobre os operadores de tensão de sua constituição e sobre as figuras de dualidade, o trabalho apóia-se no estudo teórico crítico desenvolvido por Tzvetan Todorov / This paper proposes a comparative reading of Raul Pompéias Canções sem metro and Cruz e Sousas Missal. It also aims both at reflecting upon the origins of prose poem in the French literary tradition. Through the analysis of this new genre, this paper will identify the most remarkable features of the books above mentioned, seen as the first examples of the genre of prose poem in Brazil. Raul Pompéias Canções sem metro and Cruz e Souzas Missal will be studied in order to identify their themes and structure. The theoretical framework of this paper will be the critical method developed by Tzvetan Todorov, emphasizing particularly the figures of duality

The goal of the work advanced is to examine the problems of the Czech literary decadence, the term itself and the possible limits of its use. As a basic material we investigate a corpus of texts belonging mainly to the short story genre, also paying attention to the model of a decadent novel and being interested in the most significant decadent features. The problems of literary decadence do not belong to profoundly explored topics in the history of the Czech literature, incidentally conditioned by the preference of the symbolist and decadent poetry. That is why this work was to present some texts themselves, potentially representative for the model of a decadent short story genre and of certain artistic value. The text of this work consists of three main parts. The first presents the possibilities of progressive insight into the topic, its cultural and philosophical context, showing two model novels (Huysmans{\crq} A Rebours and Wilde{\crq}s The Picture of Dorian Gray) as different but relevant types of the decadent living scheme, the specific conception of life and the role of art in it. The second part applies several theoretical questions onto the topic, constructing the form. In the final part more than two tens of original Czech short stories are concerned and the thematic composition analysed, that at least some questions asked in the previous parts could be answered and certain theses postulated proved.

O presente trabalho apresenta o romance MoskváPetuchki, de Venedíkt Eroféiev, e propõe o seu estudo com base na investigação da sua composição temática. Através da tradução do texto integral e de considerações analíticas, a obra é confrontada ao contexto histórico e literário soviético. Desse modo, e por meio da utilização de recursos interpretativos apresentados por Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi e Aleksei Yurchak, entre outros, o romance é considerado enquanto uma parte fundamental da literatura dissidente soviética do período do Degelo e uma resposta à cultura hegemônica do período. / The present work introduces Venedikt Erofeyev`s novel, Moskva Petushki, and proposes a study by means of an investigation of its thematic composition. Based on its complete translation and analysis, the work is confronted with its soviet context, both historical and literary. Thus, and using concepts presented by Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi, Aleksei Yurchak, and others, the novel is thought of as a fundamental part of soviet dissident literature of the Thaw era, and as an answer to the hegemonic culture of the period.

Neste trabalho, desenvolvemos uma reflexão sobre uma das principais obras do romance gótico e da prosa de ficção romântica em língua inglesa Melmoth the Wanderer (1820), do clérigo dublinense Charles Robert Maturin (1782-1824). Buscamos analisar Melmoth como um sermão gótico irlandês, isto é, um híbrido de romance gótico e sermão sacro, cuja forma é estruturada pelo contexto sócio-histórico da Irlanda do início do século XIX, época caracterizada pelo acirramento das tensões entre católicos e protestantes. Nessa análise, consideramos também a produção sermonística e ensaística do autor. A religião, que se mostra o princípio organizador do romance, foi entendida em sua natureza dialética entre o eterno, as doutrinas teológicas e suas proposições transcendentais, e o temporal, a práxis dos fiéis no mundo. Demonstramos como o escritor-reverendo utiliza uma série de procedimentos retórico-argumentativos da oratória sagrada na tessitura do romance a fim de amplificar o seu grau persuasivo, transformando-o em arma de propaganda política contra a campanha pela Emancipação Católica. Discutimos ainda a fortuna crítica e a recepção do romance em vários países europeus, em especial na França, onde influenciou sobremaneira escritores como Honoré de Balzac, Victor Hugo e Charles Baudelaire. / This study looks at one of the masterpieces of the Gothic novel and the Romantic prose fiction in the English language: Melmoth the Wanderer (1820), written by the Dubliner cleric Charles Robert Maturin (1782-1824). One tries to analyze Melmoth as an Irish Gothic sermon, ie, a hybrid of gothic novel and sermon whose shape is structured by the sociohistorical context of 19th century Ireland, a period characterized by the deepening of tensions between Catholics and Protestants. This analysis also takes into account Maturin´s sermons and essays. Religion, which is the organizing principle of the novel, is understood in this study by its dialectic between the eternal (theological doctrines and their transcendental propositions), and the temporal (the practice of the faithful in the world).The study argues that the writer-cleric uses a series of rhetorical-argumentative procedures of sacred oratory in the making of the novel in order to increase its persuasive appeal, turning it into a weapon of political propaganda against the campaign for Catholic emancipation. It also assesses the novel´s reviews and reactions in several European countries, particularly in France, where it greatly influenced writers such as Honoré de Balzac, Victor Hugo, and Charles Baudelaire.

A leitura comparativa das produções em prosa e poesia que compõem a obra literária de Eugénio Tavares possibilita a compreensão da importância da participação dos escritores nativistas para a construção da nação Cabo Verde, da sua cultura e para a formação de sua série literária. Buscaremos nas produções jornalística e epistolar eugenianas traçar um panorama do contexto cabo-verdiano da virada do século dezenove para o vinte, destacando-lhes o propósito de denúncia das principais questões sociais, econômicas e políticas, assim como as aspirações libertárias que preocupavam os intelectuais cabo-verdianos da época. Na poesia, que ora se expressa em língua portuguesa, ora nas mornas em língua cabo-verdiana (crioulo), daremos ênfase a aspectos que fazem confluir a arte eugeniana para um ultrarromantismo tardio, de raiz lusa e, ao mesmo tempo, a estratégias que rasuram este estilo a partir de dentro, por meio de artifícios como a crítica e o humor carnavalizador. Quanto à morna, documento de registro da consciência coletiva, recorte de um patrimônio histórico, cultural e humanístico, submetida à mestria da pena de Eugénio Tavares, constituirá, além de uma marca identitária crioula, um dos marcos do lirismo literário cabo-verdiano. A opção de trabalhar com o cotejo de textos de diferentes gêneros manifesta a nossa tentativa de captar a riqueza com que Eugénio Tavares se apresenta e representa Cabo Verde em sua obra. / The comparative reading of the productions in prose and poetry that make up Eugénio Tavaress literary work enables the understanding of the importance nativist writers participation for the building of Cape Verde nation, its culture and the formation of its literary series. We will try to establish an outline of the Cape Verdean context from the turn of the nineteenth century to the twentieth one by analysing Eugénio Tavaress journalistic and epistolary productions and emphasing the purpose of complaint of the main social, economical and political quests as well as libertarian aspirations which worried Cape Verdean intellectuals of that time. In poetry, which sometimes expresses itself in Portuguese language, sometimes in the morna in Cape Verdean language (Creole), we will hilight the aspects that make eugeniana art converge to a late ultrarromanticism of Lusitanian root and at the same time, the strategies that erasure this style from within, through devices such as criticism and carnavalizador humor. Concerning the morna, the registration document of the collective consciousness, a piece of a historical, cultural and humanistic heritage, submitted to Eugénio Tavaress mastery of writing, will constitute, besides being an identitary Creole trait, one of the landmarks of Cape Verdean literary lyricism. The option of working with the collation of texts from different genres expresses our attempt to capture the richness with which Eugénio Tavares presents himself and represents Cape Verde in his work.

Publicado em 1869 configurando-se, portanto, como obra póstuma o conjunto de poemas do livro Petits Poèmes en Prose, de Charles Baudelaire, mostra-se, diante da crítica, como um enigma em dois níveis: no primeiro, como projeto de um sujeito poético que contrasta com a locução lírica de Les Fleurs du Mal; e no segundo, como gênero que desafia os lugares formais, convencionalmente dedicados à poesia e à prosa. A partir deste problema, o presente estudo tem por objetivo analisar a aventura do poema em prosa de Baudelaire, respeitando sua dicção singular, e sem esquecer de situá-la em toda a fortuna crítica a respeito do gênero. Para tanto, recupera-se o ambiente enunciativo destes poemas em prosa; considerando, inicialmente, os lugares e funções da oposição poesia/prosa no Século XIX, e, depois, ligando essas pesquisas às particularidades da poética de Baudelaire. No trato com a matéria verbal, a partir da observação do uso de apostos e construções em sequência, relacionar a reflexão teórica a uma lírica dita moderna, a uma poética do incerto, mostrou-se fértil, conferindo ao trabalho uma abertura em direção ao incompleto como projeto de escritura. / Published in 1869 therefore, a posthumous work the collection of poems of the book Petits Poèmes en Prose, by Charles Baudelaire, presents itself to the critics as a two-level enigma: on the first one, as a project with a poetic subject that contrasts itself with the lyrical locution of Les Fleurs du Mal; and on the second level, as a genre that challenges the formal places conventionally dedicated to prose and poetry. Starting at this problem, the present paper has the objective of analyze the adventure of Baudelaires prose poetry, respecting his singular diction and never forgetting to place it over all the critical wealth of the genre. Therefore, these poems enunciative ambient is recovered in prose; considering initially the places and functions of the poetry/prose opposition in the XIX Century and, later, linking this research to the peculiarities of baudelairean poetics. From the relationship with the verbal matters and the observation of the use of appositives and sequential constructions, it establishes a relationship between the theoretical reflection and a so-called modern lyrics, a poetics of the uncertain that has shown itself as a fertile ground, giving the work an openness in the way of the incomplete as a scriptural project.

A obra inicial de Lídia Jorge, O dia dos prodígios, por meio de um riquíssimo conjunto de imagens e metáforas, constrói ficcionalmente o que seria, na visão de sua autora, a realidade socioeconômica e política de uma parcela significativa da população portuguesa a do Portugal agrário, de pensamento medievalizado e medievalizante, absorto em seu próprio cotidiano e, também por isso, distante das transformações vividas pelo restante do país. Para isso, a escritora cria um ambiente tempo e espaço que carrega marcas ideológicas nas imagens que o constituem, o que caracteriza, assim, o procedimento a que Mikhail Bakhtin deu o nome de cronotopo. Dessa forma, o propósito central desse estudo é identificar, no romance, os elementos espaciais que representem ideologicamente Portugal através dos tempos, com ênfase no pensamento português no contexto da Revolução dos Cravos, e quais traços dessa ideologia são alegorizados por esses elementos cronotópicos, na crença de que, ao identificá-los e compreendê-los, será possível perceber a existência de diferentes graus de importância que teriam sido atribuídos à insurreição de abril de 1974, em diferentes contextos. É também objetivo dessa dissertação descrever os procedimentos narrativos empregados por Lídia Jorge a fim de representar cronotopicamente a sociedade rural portuguesa, uma vez que a geração de prosadores de ficção pós-1974 pautou seu trabalho não só pelo resgate da identidade nacional envolta em brumas ideológicas desde o século XVI , mas também pela ruptura com a estética literária herdada do salazarismo , estética essa tributária da tradição cultural portuguesa, cujos valores mantiveram-se quase intactos ao longo dos séculos. / Lidia Jorges first novel, O dia dos prodígios, brings out a rich set of imagery and metaphors which builds in fiction what would be the authors point of view on the socioeconomic and political reality of a very meaningful part of the Portuguese society the one that lives in and from the countryside, whose ideas are quite medieval, and who spends life locked into their own sight of view, far from all the changes faced by their country. In order to do so, the writer builds a setting time and space which carries ideological signals in the imagery that constitutes it, what leads to the concept of chronotope, as defined by Mikhail Bakhtin. Thus, the main purpose of this study is to identify the elements that represent Portugal ideologically throughout time, in the novel, with emphasis on the Portuguese thought in the context of the Revolução dos Cravos (the revolution that ended the dictatorship in which Portugal had been submerged until 1974), and which aspects of this ideology are metaphorically represented through chronotope procedures, once it is believed that it will be possible to notice the existence of different ways of perception of the Revolução, in different contexts, by identifying and comprehending those chronotopic constructions. It is also an aim of this paper to describe the narrative procedures used by Lidia Jorge in order to represent chronotopically the rural Portuguese society, once the post-1974 generation of writers made a point not only in recreating Portugals identity but also in breaking the ties with the literary procedures inherited from the cultural Portuguese tradition, kept alive by Salazars dictatorship.

The prose translation of the fifty first psalms in the Paris Psalter is quite unique as an early medieval scriptural translation (O’Neill 2016 p. x). There have been several studies made on the Paris Psalter recently, most notably by Patrick O’Neill. One focus of several of these studies has been whether or not the Prose translation is connected to Alfred the Great. However, there is still much left in this translation that has not yet been studied. Something that can be noticed when studying the prose psalms is that throughout the translation the translator made several additions and changes to the psalms. There are several different kinds of additions in the prose psalms, the most common of these is the þæt ys/þæt synt (‘that is’/‘those are’) type. This study focuses on these additions, and it will be suggested that the translator has made additions and changes to the psalms to describe metaphors and concepts that an Anglo-Saxon reader might not have been able to understand without these additions.

This diploma thesis presents a contrastive description of reporting clauses in present-day original Czech and American fiction (published and awarded in 2010-2015). The examined reported clauses are limited to direct speech marked with a conventional means of punctuation. Based on six samples of fiction, three American ones and three Czech ones, this thesis examines reporting verbs, their diversity, the nature of the subject of reporting clauses, modification by adjuncts, the presence of an object expressing the addressee and the position of reporting clauses with respect to their reported clauses. It also scrutinizes the instances of leaving the reporting clause unexpressed and of certain transient forms. The ascertained values are then compared with a translatology paper on the same topic. The findings of this thesis confirm that while Czech reporting clauses strive for diversity by a number of means, English reporting clauses strive for inconspicuousness. This thesis attempts to contribute to a better understanding of reporting clauses. The outlined findings may be helpful especially to translators and fiction writers. Powered by TCPDF (www.tcpdf.org)