The Reception of Byzantium in European Culture since 1500

Studies on the reception of the classical tradition are an indispensable part of classical studies. Understanding the importance of ancient civilization means also studying how it was used subsequently. This kind of approach is still relatively rare in the field of Byzantine Studies. This volume, which is the result of the range of interests in (mostly) non-English-speaking research communities, takes an important step to filling this gap by investigating the place and dimensions of ‘Byzantium after Byzantium’.
This collection of essays uses the idea of ‘reception-theory’ and expands it to show how European societies after Byzantium have responded to both the reality, and the idea of Byzantine Civilisation. The authors discuss various forms of Byzantine influence in the post-Byzantine world from architecture to literature to music to the place of Byzantium in modern political debates (e.g. in Russia). The intentional focus of the present volume is on those aspects of Byzantine reception less well-known to English-reading audiences, which accounts for the inclusion of Bulgarian, Czech, Polish and Russian perspectives. As a result this book shows that although so-called 'Byzantinism' is a pan-European phenomenon, it is made manifest in local/national versions.
The volume brings together specialists from various countries, mainly Byzantinists, whose works focus not only on Byzantine Studies (that is history, literature and culture of the Byzantine Empire), but also on the influence of Byzantine culture on the world after the Fall of Constantinople.

Theatre audience contribution : facilitating a new text through the post-performance discussion

Theatre Audience Contribution introduces a new approach to theatre audience research: audience contribution through the post-performance discussion. This volume considers the physical and vocal behaviour of audience members as an integral part of the theatrical event that changes, adds to and informs the theatrical experience. Post-performance discussions, although rising in popularity, are yet an under-explored and under-utilised avenue for audience contribution. Beginning with an overview of reception theory and the historical role of theatre audiences, the author introduces a new method for the facilitation of post-performance discussions that encourages audience contribution and privileges the audience voice. Two case studies explore post-performance discussions that inform the theatrical event and discover a new role for the contemporary audience: audience critic. This accessible volume has significant implications for theatre theorists, practitioners and audiences alike.

Orazio and Artemisia Gentileschi : father and daughter painters in Baroque Italy : réception critique d'un jumelage expositionnel

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposé au Service de la gestion des documents et des archives de l'Université de Montréal.

Nord de L.-F. Céline : une réécriture des chroniques médiévales

À partir du projet d’écriture d’une chronique que Céline met en avant lorsqu’il parle de son œuvre dans l’après-guerre, ce mémoire examine l’hypothèse selon laquelle le genre des chroniques médiévales fait, dans Nord, l’objet d’une réécriture permanente et déterminante pour la version de la Seconde Guerre mondiale de Céline. La notion d’horizon d’attente de Jauss permet d’abord de démontrer comment Nord reconstruit le discours testimonial et l’éthos de la vérité qui fondent la légitimité de chroniqueurs comme Villehardouin ou Clari afin d’accréditer une version illégitime des événements de 39-45. Au récit magnifié de la « Libération », Céline oppose en effet une chronique de l’épuration et un témoignage sur la vie quotidienne dans l’Allemagne de 1944. Idéologiquement nationalistes, les chroniques médiévales forment une lignée de la francité à partir de laquelle Céline crée une fiction politique passéiste qui projette sur les événements de 39-45 la géopolitique d’une Europe médiévale afin de cautionner les partis pris d’extrême droite de l’auteur. Par ailleurs, Nord accentue la propension autobiographique de certaines chroniques et la confond avec une lignée de mémorialistes disgraciés. Ceux-ci lui fournissent le plaidoyer pro domo qui orchestre toute la rhétorique d’autojustification de l’écrivain dans l’après-guerre : s’autoproclamer victime de l’histoire afin de justifier a posteriori les pamphlets antisémites et ainsi s’exonérer de tout aveu de culpabilité. Enfin, Céline qualifie Nord de « roman » par référence à la part d’affabulation des chroniqueurs. Pour représenter l’histoire en une Apocalypse advenue sans justice divine et sans héros, Nord procède en effet à une réactivation des genres fictionnels comme la légende, l’épique et le chevaleresque qui s’entremêlaient à l’histoire dans les Chroniques de Froissart. Cette réécriture entre fabula et historia est donc d’abord une création de romancier qui, dans le contexte de crise de la fiction de l’après-guerre, procède à un épuisement du roman par l’histoire.

La poétique pathique de Georges Bataille et de Pierre Klossowski

L’objectif de la thèse est de montrer en quoi le roman ou la littérature incarne une forme de connaissance qui lui est propre, que Pierre Klossowski appelle la « connaissance pathétique ». Celle-ci fait appel aux passions plutôt qu’à la seule raison et repose sur des percepts et des affects bien davantage que sur des idées et sur des concepts. L’œuvre romanesque de Georges Bataille et de Pierre Klossowski me servira d’exemple et d’objet d’analyse, dans la mesure où l’écriture fictionnelle y est toujours au service d’une ‘’passion’’ philosophique, dans laquelle l’auteur entraîne ses personnages en même temps que le lecteur. Cette « connaissance pathétique » que le sujet est amené à vivre passe notamment par les mécanismes d’une écriture qui tente d’énoncer l’innommable. Cette orientation esthétique suit la voie tracée par Nietzsche, et les grandes thématiques associées à ce dernier constituent à la fois, au niveau de l’énoncé, un contenu thématique et diégétique récurrent (par exemple : dans Le Baphomet, nous sommes en présence du personnage de Friedrich l’Antéchrist) et, au niveau de l’énonciation, une stratégie narrative qui consiste à piéger le lecteur dans un système d’interprétations ambiguës, contradictoires et provocatrices qui déclenchent chez lui une activité cognitive effrénée, de nature passionnelle ou pathétique (par exemple : Le récit Les lois de l’hospitalité commence par un avertissement au lecteur, où on le met en garde contre « l’attrape concertée » que représente le récit). J’étudierai en détail, sur le plan de l’expression et du contenu, ces stratégies cognitives de la transgression et du simulacre grâce auxquelles l’auteur amène ses personnages et son lecteur à éprouver des pensées comme une forme de passion. L’analyse de la poétique pathique comme forme privilégiée de l’écriture narrative chez Pierre Klossowski et chez Georges Bataille nécessitera le recours à une analyse de l’œuvre de Nietzsche et de Sade dans un premier temps pour retracer ce qui est l’enjeu de la réception de ces œuvres par les deux auteurs français. Dans un deuxième temps, l’analyse des œuvres de Georges Bataille et de Pierre Klossowski me permettra de comprendre comment elles déclenchent chez le lecteur une expérience pathétique où la difficulté d’atteindre à une connaissance rationnelle univoque déclenche chez le destinataire du texte une activité cognitive complexe de nature proprement littéraire ou romanesque. Enfin, le corpus qui me servira d’exemple dans la description de ces phénomènes sera constitué des principales œuvres discursives de Bataille et de Klossowski (L’expérience intérieure, Nietzsche et le cercle vicieux) ainsi que de leurs œuvres romanesques (L’histoire de l’œil, Divinus Deus, L’abbé C., La vocation suspendue, Les lois de l’hospitalité et Le Baphomet).

La littérature à l’ère photographique : mutations, novations, enjeux : de l’argentique au numérique

Travail réalisé en cotutelle avec l'Université Rennes 2 (France)

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

A Revista de Cultura Brasileña e a recepção de “Grande Sertão Veredas” (1962-2011)

A proposta desta dissertação é examinar a recepção crítica em língua espanhola de Grande sertão: veredas (1956), obra de Guimarães Rosa (1908-1967). Desde a sua edição no idioma espanhol, a referida narrativa provocou certo impacto na sociedade de língua cervantina por abordar um tema polêmico como a relação ambígua de Riobaldo e Diadorim, oculta até o final da primeira leitura e por escrever numa linguagem poética acerca dos conflitos humanos e existenciais, inseridos na descrição de uma região que ultrapassa os limites geográficos, para a construção de um sertão universal. A recepção crítica em língua espanhola, de fato, iniciou-se em 1967 com a publicação de Grán sertón: veredas, pela editora Seix Barral, traduzida por Ángel Crespo. Este trabalho propõe uma leitura sobre as interpretações da narrativa que causou grande repercussão entre os intelectuais hispano-falantes que, ao se debruçarem sobre o sertão, procuraram desvendar os sentidos forjados na obra. É nessa perspectiva que serão abordados os textos do arquivo da Revista de Cultura Brasileña da década de 1960, elemento primordial para o desenvolvimento deste estudo e da recepção crítica mais contemporânea de Soledad Bianchi (2004), Antonio Maura (2007), Maria Rosa Álvarez Sellers (2007) e Pilar Gómez Bedate (2007), além de outros críticos literários brasileiros. Como base metodológica desta pesquisa, recorrer-se-á entre outras referências, ao estudo sobre a teoria da recepção de Hans Robert Jauss no que concerne ao leitor como construtor de um novo objeto artístico. O trabalho está dividido, em três capítulos: no primeiro, far-se-á uma abordagem dos pressupostos da Estética da Recepção, de Hans Robert Jauss (1921-1997) e, sucintamente, far-se-á uma discussão sobre o texto A tarefa do tradutor de Walter Benjamin e os princípios teóricos de Antoine Berman no que tange ao ato tradutório. Nos capítulos posteriores, será desenvolvido o trabalho específico sobre a crítica no idioma espanhol, e por meio desta análise, destacar-se-ão as divergências entre as obras de língua portuguesa e espanhola, focando nos elementos pertinentes à linguagem poética na construção do texto para os hispano-falantes e a inserção da obra no contexto sócio-histórico da ficção rosiana nos países de língua hispânica.

El discurso periodístico de Gastón Talamón en torno al nacionalismo musical argentino : los escritos publicados en la revista ‘Tárrega’

Se explican los mecanismos receptivos que contribuyeron a mantener el ideario nacionalista y los procesos de identifi cación cultural, a través de la música, mediante el análisis de dos escritos del musicógrafo y crítico Gastón Talamón, publicados en 1926 en la revista Tárrega. Figura principal entre los teóricos del denominado ‘nacionalismo musical argentino’, los artículos se titulan “Tres nuevas nacionalidades musicales" y “El anti-argentinismo". La metodología utilizada apela a herramientas del análisis discursivo y el marco teórico entrecruza nociones de teoría de la recepción y teoría de la mediación, en línea con una historia socio-cultural de la música argentina.

Dulce Maria Loynaz' Jardin: Subversive tropological discourse

The purpose of this dissertation is to analyze how the tropes or figurative discourse in Loynaz’s novel, Jardín, becomes a means by which she involves the reader within a text that subverts socio-cultural conventions. Through textual analysis, it explains how the poet communicates her views of the world as a conflictive space where existence is the will to live, life being a human construction like a garden, and a woman’s decision –often frustrated by men– to seek self-realization.^ By tracing some critical studies focused on polarities allegedly present in Jardín, such as: poetry/prose, lyric poetry/novel, word/silence, life/death, character novel/space novel, civilization/barbarism, posmodernismo/vanguardismo, and femininity/feminism, this essay explores Loynaz’s esthetic and ideological codes to demonstrate how opposition can be seen in her novel as part of her arrangement of an artistic philosophy.^ This research refers to three main sources: the semiotician Umberto Eco’s notion of the text’s indeterminacy as an opera aperta, reception theory, and Mikhail Bakhtin’s concept of dialogism. By applying these theories to the analysis of this novel, I seek to show Loynaz’s literary modus (tropological language) and ideological dictum , which correlate oppositions and transform them as a point of departure to reconsider civilized life. The poet is presented as an esthetic force that compels the reader to question some false values, by creating an implicit but intelligent dialogue between him/her and a lyrical text. To describe such literary procedure, I coin in this study the term dialirismo (dialyricism). ^ My essay is centered on the tropes through which Loynaz creates her dialyrical text. By focusing on metaphor, symbol, synecdoche, and metonymy, I examine Jardín as a convergence of the following conceptual aspects: intertextuality, primitivism, and feminist discourse. I argue that Loynaz’s novel is a creative response to the literary tradition, as well as a proposal to understand writing –and reading– as an open, interactive process in search not only of artistic values but also of critical knowledge.^ This exploration shows how the novelist faces a so-called civilized world through the eyes of her fictional character, Bárbara, who confronts patriarchal discourse. It celebrates Loynaz’s poetic representation of this inquisitive woman, in her fenced garden, as a human being who can see, above and beyond an iron curtain, the possibility to overcome an aggressive male-centered civilization.^

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

Literatura e emigração : olhares cruzados (Nita Clímaco, Assis Esperança, Olga Gonçalves e Amândio Sousa Dantas) : estudo comparatista para utilização desta temática no ensino secundário

O principal objetivo deste trabalho é apresentar uma análise da temática da emigração nas obras de quatro autores que se mantêm afastados dos programas curriculares: António Assis Esperança, com Fronteiras, Nita Clímaco, com A salto, Olga Gonçalves, com Este verão o emigrante là-bas e Amândio Sousa Dantas com Poesia da emigração. Numa primeira parte são definidas as noções de Literatura, História, Ficção e Contexto histórico e explicitadas as relações existentes entre conceitos. A segunda parte aborda a Imagologia enquanto teoria satélite da disciplina de Literatura Comparada. Neste âmbito, apresenta brevemente as várias tendências comparatistas e detém-se nas noções de ficcionalidade, teoria da receção e intertextualidade. Define e estabelece distinções entre Tema e Motivo, e por fim propõe uma abordagem comparativa dos temas: “Representações do Feminino” e “Imagem do Estrangeiro”. Na terceira parte, recorrendo à metodologia comparatista foi realizada uma análise transversal dos motivos: “Retrato de um país – Portugal nas décadas de 1960 - 1980”, “A Emigração”, “ A Viagem – o Salto”, “O choque cultural e linguístico” e “ A Saudade”. Todas as abordagens dos temas e dos motivos iniciam com uma apresentação teórica, resultado das leituras feitas ao longo da investigação. Por fim, o último capítulo expõe algumas propostas para o tratamento das obras e da temática nas aulas de Português no ensino secundário, para um trabalho interdisciplinar com História e um Projeto de Turma envolvendo as restantes disciplinas.

La recepción del Mamita Yunai de Carlos Luis Fallas en Italia y Francia: entre la proximidad lingüística y la divergencia cultural

El siguiente texto intenta ser una aportación a la historia de la traducción. Más concretamente, se analizan aspectos sobre la recepción de Mamita Yunai de Carlos Luis Fallas en Italia y Francia. Con la observación, en un primer estadio, de las condiciones de recepción de la obra en estos países se da una idea sobre el ámbito cultural en que se movieron las traducciones. En una segunda parte, se describen las traducciones (sobre todo, en sus factores culturales) para observar si el patrimonio cultural costarricense se ha mantenido en las versiones francesa e italiana.The following text is intended as a contribution to the history of translation.  Specifically, we will analyze the reception of Mamita Yunai by Carlos Luis Fallas in Italy and France. In the first part, the observation of the conditions of reception of the novel in each of the countries provides an idea about the cultural environment where the translated versions were published. In the second part we will analyze the translations (their cultural elements, in particular) in order to observe whether the Costa Rican cultural heritage has been kept alive in the Italian and French versions.

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence