A memória do mundo e a confiança em Yves Bonnefoy

Cette communication prétend parcourir quelques poèmes de Les planches courbes (2001) d’Yves Bonnefoy à partir de l’opposition entre mémoire et oubli. Cette réflexion se trouve esquissée dans l’essai “Sous l’horizon du langage” du livre homonyme, lorsqu’il affirme que la poésie est “ce qui, dans l’espace des mots, notre monde, a mémoire du surcroît de ce qui est sur ses représentations” (2002 : 8). Il s’agit d’une mémoire établie moins à partir d’un lieu perdu que retrouvé. Ce à elle que le moi se confie: dans le “oui”, dans la paix, ces deux mots qui apparaissent dans ses livres les plus récents. Le poète apporterait une confiance qui reprendrait, d’une certaine façon, ce que Paul Ricoeur a caractérisé comme le sens des inscriptions-affections: “elles seraient le dépositaire de la signification la plus dissimulée, mais la plus originaire du verbe “demeurer”, synonyme de “durer”. Dans Les planches courbes, il s’agit également d’une mémoire de l’enfance et des mythes. Ce sont des événements qui prennent place dans un temps primordial. Espoir/confiance, donc, de remonter à une force plus ancienne de la langue, de soi-même, de l’être, de ses rapports. Remonter à une unité dans le simple, en reliant une appréhension du monde et de soi-même dans un acte de suffisance, dans lequel celui-ci se conjugue avec une espèce de dépossession: de l’idée, du concept, de l’image.

L'Arrière-pays de Yves Bonnefoy, viagem e escrita de si

This essay attempts to approach the book L’Arrière-pays by Yves Bonnefoy from two central ideas: the notion of travel and autobiographical writing. They belong to the poet’s project, according to which, since L’Improbable published in 1959, and with reference to Baudelaire, “poetry and travel are of the same substance”. Invited by Albert Skira to participate in the collection  Sentiers de la création, Yves Bonnefoy produces in  L’Arrière-pays  a long essay in which he combines art criticism, philosophical reflection and personal narrative. With narrative projects abandoned or transformed into poems, as in the case of L’Ordalie, incorporated into the book Du Mouvement et de l’immobilité de Douve (1953), Yves Bonnefoy in L’Arrière-pays establishes a first path to reconsider the association between narrative and fiction and, for that reason, is the central text of what the poet called his «conversion».

A verdade de palavra em Yves Bonnefoy e Marceline Desbordes-Valmore

Ce texte cherche à montrer l’étude critique réalisée par Yves Bonnefoy de la poésie de Marceline Desbordes-Valmore. En même temps qu’il fait une analyse de l’oeuvre de la poète du romantisme français, Bonnefoy fait connaître ses positions mêmes en ce qui concerne l’acte poétique.

Yves Bonnefoy and Translation into English: when poets, linguists and translators think alike

Santamaría, José Miguel; Pajares, Eterio; Olsen, Vickie; Merino, Raquel; Eguíluz, Federico (eds.)

Yves Bonnefoy traduttore di Shakespeare: il poeta e la prova del dialogo

Contemporary French poet Yves Bonnefoy has always been attracted by English poetry, especially by Shakespeare’s work. Translating Shakespeare’s plays and sonnets has been a fundamental experience for him. The contact with a different culture, a different language and a different sort of poetry has been an important moment in his poetic experience. The dialogue between the French and the Elizabethan poet, which started in the 1950s, hasn't stopped yet and it offers some interesting perspectives to study Bonnefoy's work from a new point of view. Translation – which is first of all a poetic experience to him – is in fact the chance to get in touch with somebody else's poetry and to establish a dialogue with his poetic universe. Such a dialogue requires on the one hand an ‘ethic’ attitude on the translator's part, that is an attentive listening and a deep understanding of the original text. However, Bonnefoy has to create a new ‘poetic’ text in his own language. This is why the ‘seeds’ of his own poetry are also present in his translated texts, in which it is possible to clearly distinguish both the presence of the French poet’s own voice and his attempt to open his ‘speech’ to the specific quality of the Shakespearean poetry. On the other hand, such a deep contact with Shakespeare's work has changed the French poet, contributing to the development and maturity of his own poetry. Indeed, the Elizabethan poet is present in his work in different ways, in his critical essays as well as in his poems. Against this background, the aim of the present study is to define the complex dialogic forms and the osmotic relationships between the poetic experience and the experience of translation, which are considered two different moments of the same ontological research by the French poet.

Gramatica francesa : dividida en tres partes : la primera contiene los primeros rudimentos ... sobre las partes de la oracion, y nueuamente añadidas en esta tercera edicion : la segunda comprehende vn tratado ... de la oracion, ò construccion, mas amplio que el de la primera edicion, con un paralelo de la eloquencia española, y francesa, y francesa y española, aumentado de mas de una tercia parte en esta segunda edicion de las expressiones mas cortesanas de el idioma frances : la tercera contiene un arte poetica, o breve compendio de la poesia francesa /

Mode of access: Internet.

Viagens ao 'outro lado': o percurso poético lecléziano

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Os novos shâmanes: um contributo para o estudo da narratividade na poesia portuguesa mais recente

Universidade da Madeira

Técnica e humanismo na poesia de Michel Deguy

Conselho Nacional do Desenvolvimento Científico e Tecnológico (CNPq)

Poesia em tempos de mal-estar: Charles Simic e Affonso Romano de Sant'Anna

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Os caminhos da poesia em Juan Rámon Jiménez

Pós-graduação em Letras - FCLAS

As vozes e as coisas: a poesia em prosa de Murilo Mendes e Francis Ponge

O livro compara duas importantes obras de poesia em prosa das literaturas brasileira e francesa, o Poliedro, de Murilo Mendes e o Le parti pris des choses, de Francis Ponge, publicadas respectivamente em 1972 e 1942. Para a autora, a aproximação se justifica pelo foco dado nas duas obras aos objetos mais cotidianos possíveis e, ainda, pelo posicionamento diferente dos sujeitos líricos muriliano (menos objetivo) e pongiano (mais objetivo) diante das coisas simples do mundo. O brasileiro e o francês também partilhariam de uma determinada comunidade de interesses históricos, literários e sociais, ainda que as obras em questão estejam separadas por um intervalo de publicação de trinta anos e, neste intervalo, tenham ocorrido acontecimentos políticos, sociais e artísticos que reverberaram inevitavelmente na literatura desses poetas. Para a autora, a própria escolha da forma do poema em prosa pelos dois autores também os uniria, na medida em que este formato contribuiu enormemente para a construção singular dos objetos, bem como das duas vozes líricas tão particulares