Loading...
Publication
"Imitado do inglês"? : a transtextualidade e o romantismo : noivados e (des)amores do sepulcro
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 983.85 KB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
A popularidade da chamada temática sepulcral reflecte-se no número de
variações com que foi tratada ao longo de Setecentos e de Oitocentos – a que
correspondem de um modo geral o Pré-Romantismo e o Romantismo,
respectivamente. O motivo recorrente do morto que regressa do além-túmulo por
causa da pessoa amada em vida é retomado em diferentes variações, e são as
relações de aproximação e de afastamento entre algumas delas que aqui
exploramos.
Este estudo compara as baladas portuguesas “A Noiva do Sepulcro” de
Alexandre Herculano, e “O Noivado do Sepulcro” de Soares de Passos,
publicadas durante o século XIX, com baladas inglesas e escocesas de origem
maioritariamente incerta: “William and Margaret”, “Margaret’s Ghost”, “Fair
Margaret and Sweet William”, “William’s Ghost” e “The Suffolk Miracle”. Estas
foram recolhidas e publicadas ao longo do século XVIII em colectâneas que
visavam a recuperação da tradição lírica popular dos povos das Ilhas Britânicas. A
popularidade deste tipo de obra contribuiu para a sensibilização dos românticos
relativamente à exaltação das tradições, da língua e da cultura em torno do
conceito que começava a emergir: o de nação. Em Portugal vários autores
dedicariam parte da sua obra ao culto do passado nacional, entre eles Herculano
e Soares de Passos.
Apesar do surgimento da ideia de literaturas nacionais, encontramos na
poesia sepulcral de diferentes países elementos de transtextualidade não apenas
em termos técnico-compositivos como em termos culturais, sobretudo em relação
ao revivalismo do passado – habitualmente medieval. A popularidade da forma da
balada popular e o seu revivalismo são sintomáticos desta nova sensibilidade, e é
precisamente nesta forma mista – que combina o lírico com o narrativo e o
dramático – que este corpus textual é escrito, razão pela qual a sua análise
literária abrange desde a prosódia às personagens, passando pela dramatização
do discurso em diálogo e pelo imaginário.
Throughout the 1700s and the 1800s the popularity of what is usually known as sepulchral poetry can be inferred from the amount of variations in which it appears. These periods are usually known as the Pre-Romantic era and the Romantic era, respectively. This dissertation analyses different examples of variations of the common motif of the dead lover who returns from the grave, sometimes presented in closer relation between some poems, other times, more distantly, between others. This study compares the Portuguese ballads “A Noiva do Sepulcro” by Alexandre Herculano, and “O Noivado do Sepulcro” by Soares de Passos, both published during the nineteenth century, with a selection of English and Scottish ballads, most of uncertain origin: “William and Margaret”, “Margaret’s Ghost”, “Fair Margaret and Sweet William”, “William’s Ghost” and “The Suffolk Miracle”. These ballads had been collected and published during the eighteenth century in works pertaining to the effort of recovering folk lyrical traditions of the peoples of the British Isles. Some of these collections gained vast popularity, contributing to the dispersal of this new sensibility of exalting the traditions, language and culture of what was beginning to be perceived as “national”. In Portugal, several authors dedicated a part of their work to the cult of their nation’s past. Some of these authors are Herculano and Soares de Passos. Although the idea of national literatures was emerging, sepulchral poetry from different countries shows us elements of transtextuality not only in regards to technical elements of form and style but also in terms of certain cultural aspects, relating primarily to the past – usually the Middle Ages. The enjoyment of the popular ballad form and its revival are symptomatic of this new sensibility, and it is precisely in this mixed form – which combines lyrical, narrative and dramatic elements together – that this text corpus is written. We are thus compelled to examine such different aspects as prosody, character analysis, the imaginary and the use of dialogue for dramatic emphasis.
Throughout the 1700s and the 1800s the popularity of what is usually known as sepulchral poetry can be inferred from the amount of variations in which it appears. These periods are usually known as the Pre-Romantic era and the Romantic era, respectively. This dissertation analyses different examples of variations of the common motif of the dead lover who returns from the grave, sometimes presented in closer relation between some poems, other times, more distantly, between others. This study compares the Portuguese ballads “A Noiva do Sepulcro” by Alexandre Herculano, and “O Noivado do Sepulcro” by Soares de Passos, both published during the nineteenth century, with a selection of English and Scottish ballads, most of uncertain origin: “William and Margaret”, “Margaret’s Ghost”, “Fair Margaret and Sweet William”, “William’s Ghost” and “The Suffolk Miracle”. These ballads had been collected and published during the eighteenth century in works pertaining to the effort of recovering folk lyrical traditions of the peoples of the British Isles. Some of these collections gained vast popularity, contributing to the dispersal of this new sensibility of exalting the traditions, language and culture of what was beginning to be perceived as “national”. In Portugal, several authors dedicated a part of their work to the cult of their nation’s past. Some of these authors are Herculano and Soares de Passos. Although the idea of national literatures was emerging, sepulchral poetry from different countries shows us elements of transtextuality not only in regards to technical elements of form and style but also in terms of certain cultural aspects, relating primarily to the past – usually the Middle Ages. The enjoyment of the popular ballad form and its revival are symptomatic of this new sensibility, and it is precisely in this mixed form – which combines lyrical, narrative and dramatic elements together – that this text corpus is written. We are thus compelled to examine such different aspects as prosody, character analysis, the imaginary and the use of dialogue for dramatic emphasis.
Description
Keywords
Literatura comparada Literatura inglesa Literatura portuguesa Romantismo Poesia Sepulcro Transtextualidade Transtextuality Romanticism Ballad Poetry Sepulchral
Citation
Moreira, Inês Querido - "Imitado do inglês"? [Em linha]: a transtextualidade e o romantismo : noivados e (des)amores do sepulcro. [S.l.]: [s.n.], 2017. 190 p.