360 research outputs found
Discursos fúnebres de Victor Hugo
No full textThis article deals with two funeral addresses written by Victor Hugo on the occasion of the deaths of two friends - Honoré de Balzac and George Sand. In each speech, Hugo adopts a different perspective: in the case of Balzac, it is the critical view that stands out, emphasizing the importance of the author of the Human Comedy; in Sand’s case, it is her condition as a woman and the author’s admiration that are the most present elements.Este artigo trata de dois elogios fúnebres escritos por Victor Hugo na ocasião da morte de dois amigos - Honoré de Balzac e George Sand. Em cada um dos discursos, Hugo adota uma perspectiva diferente: no caso de Balzac é a visão crítica que se sobressai, ressaltando a importância do autor da Comédia Humana; no caso de Sand, é a sua condição de mulher e a admiração do autor que estão mais presentes
Mystère et magistère. Victor Hugo académicien
No full textThe election of Victor Hugo at the Académie française was the result of a prolonged campaign that exposed the poet to several. His perseverance is a sign of the importance that the author of the Preface to Cromwell attached to academic consecration. The way Hugo reports himself to the Académie helps to understand the relationship of poetry and power in the poet's work. There is a link between the increase of the poet’s academic ambitions and the rise of the theme of a classical past, modeled on classical antiquity and on the French seventeenth century
Victor Hugo and translation: a whole difficult journey that leads intoparadise
No full textO objetivo é seguir a evolução do próprio pensamento de Victor Hugo sobre a conceção da tradução e do tradutor. De facto, em 1819, Victor Hugo ficou indignado com uma tradução de Homero em verso em língua francesa: “É monstruoso e insustentável”, declarando que “uma tradução em verso de qualquer pessoa, por qualquer pessoa parece-[lhe] absurda, impossível e quimérica”, sugerindo a priori que Victor Hugo é um defensor da intraduzibilidade. Na sua juventude, Victor Hugo entendia que qualquer tradução era proibida, um tabu, dando toda a importância ao próprio autor. Mas o seu ponto de vista irá evoluir com o tempo. O trabalho desenvolvido pelo seu filho François-Victor Hugo, de 1858 a 1866, trar-lhe-á um novo horizonte no campo da tradução. Labor severo, revalorizando assim a tarefa do tradutor, percorrendo um caminho árduo, mas estimulante. Tributário da sua época, com Victor Hugo, é todo um processo de renovação de ideias do discurso francês sobre a tradução que nos é entregue. O objetivo deste artigo é mergulhar no universo de Victor Hugo a fim de clarificar esta sua perspetiva evolutiva ao longo do século XIX. Fá-lo-emos analisando os seus escritos cronologicamente, desde as obras da primeira juventude, até às obras do seu exílio.The aim of this paper is to follow the evolution of Victor Hugo’s own thinking on the idea of translation and the translator. In fact, in 1819, Victor Hugo felt outraged by a translation in verse of Homer into French: “It is monstrous and untenable”, stating that “a translation in verse of anyone, made by anyone, seems [to him] absurd, impossible and chimerical”, thus a priori suggesting that Victor Hugo is an advocate of untranslatability. In his youth, Victor Hugo understood any translation to be forbidden, a taboo, assigning the utmost importance to the author himself. But his point of view will evolve with time. The work done by his son, François-Victor Hugo, from 1858 to 1866, would bring him a new horizon in the field of translation. Hard work, thus leading to a revaluation of the task of the translator, by treading a laborious, yet stimulating path. Tributary of his time, Victor Hugo gives us a whole new process of renewal of ideas around French discourse on translation. This article aims to delve into the universe of Victor Hugo in order to clarify such an individual evolutionary perspective throughout the nineteenth century. We will do so by analysing his writings on a chronological basis, starting from the works written in his early youth to those published during exile.info:eu-repo/semantics/publishedVersio
Victor Hugo
No full textVictor Hugo (1802-85) is an icon of French culture. He achieved immense success as a poet, dramatist and novelist, and he was also elected to both Houses of the French Parliament. Leading the Romantic campaign against artistic tradition and defying the Second Empire in exile, he became synonymous with the progressive ideals of the French Revolution. His State funeral in Paris made headlines across the world and his breadth of appeal remains evident today, not least thanks to the popularity of his bestseller, Les Misérables.This biography, the first in English for over twenty years, provides a concise but comprehensive study of Hugo’s monumental body of work within the context of his dramatic life. Hugo wrestled with family tragedy and personal misgivings while being pulled into the turmoil of the nineteenth century, from the fall of Napoleon’s Empire to the rise of France’s Third Republic. Throughout these twists of fate, he sensed a natural order of collapse and renewal. This unending cycle of creation shaped his ideas about freedom and roused his imagination, which he channelled into his prolific writing and other outlets like drawing. Such vigour also suggests, as Bradley Stephens argues, that Hugo was too restless to sit comfortably on the pedestal of literary greatness. Reviewed as follows: 'This “Hugo” will surely inspire readers to delve into the wonders of the poetry, drama and fiction created by the pre-eminent public figure of nineteenth-century France' (David Bellos, Professor of Comparative Literature and Author of 'The Novel of the Century: The Extraordinary Adventure of Les Misérables') 'In these troubled times of ours, this book is the antidote we never knew we craved. Comprehensive, refreshingly accessible -- and concise! -- Stephens draws a fascinating portrait. [...] Essential reading in a post-truth era!' ('France Today', April / May 2019, p. 95)'In deftly detailing Hugo’s busy life, Stephens fills a gaping hole in Hugo studies, giving us an up-to-date, accessible, concise English-language biography of the author who dominated nineteenth-century France—and whose ideas continue to move throughout the world.' (Marva Barnett, Emerita Professor of French, Virginia Tech University
Eduarda Mansilla y Victor Hugo: un breve intercambio epistolar marcando los inicios de la literatura francófona de Argentina
No full textArgentine francophone literature originates with Eduarda Mansilla’s novel Pablo ou la vie dans les Pampas, published in 1869; the author forwards a copy to Victor Hugo, generating a brief correspondence. In this article, we both present and analyze an unpublished letter by Eduarda Mansilla, addressed to Victor Hugo. Furthermore, we compare it to Victor Hugo‘s answer to confirm the existence of a letter exchange between the authors. The relevance of this entwine lies in the fact that Mansilla and Victor Hugo are two central literary figures around which revolve the Argentine francophone literature; a literature yet to be explored.La littérature francophone d’Argentine trouve ses origines dans le roman d’Eduarda Mansilla: Pablo ou la vie dans les Pampas, publié en 1869 ; la romancière fait parvenir un exemplaire à Victor Hugo et génère ainsi un très bref échange épistolaire. Au cours de cet article on présente et analyse une lettre inédite d’Eduarda Mansilla adressée à Victor Hugo. On la confronte à la réponse de Victor Hugo. L’importance de cette correspondance réside dans le fait que Mansilla et Victor Hugo sont les deux figures littéraires centrales autour desquelles gravite la littérature francophone argentine. Une littérature toujours inexplorée dans son ensemble.La littérature francophone d’Argentine trouve ses origines dans le roman d’Eduarda Mansilla: Pablo ou la vie dans les Pampas, publié en 1869 ; la romancière fait parvenir un exemplaire à Victor Hugo et génère ainsi un très bref échange épistolaire. Au cours de cet article on présente et analyse une lettre inédite d’Eduarda Mansilla adressée à Victor Hugo. On la confronte à la réponse de Victor Hugo. L’importance de cette correspondance réside dans le fait que Mansilla et Victor Hugo sont les deux figures littéraires centrales autour desquelles gravite la littérature francophone argentine. Une littérature toujours inexplorée dans son ensemble
Eduarda Mansilla y Victor Hugo: un breve intercambio epistolar marcando los inicios de la literatura francófona de Argentina
No full textArgentine francophone literature originates with Eduarda Mansilla’s novel Pablo ou la vie dans les Pampas, published in 1869; the author forwards a copy to Victor Hugo, generating a brief correspondence. In this article, we both present and analyze an unpublished letter by Eduarda Mansilla, addressed to Victor Hugo. Furthermore, we compare it to Victor Hugo‘s answer to confirm the existence of a letter exchange between the authors. The relevance of this entwine lies in the fact that Mansilla and Victor Hugo are two central literary figures around which revolve the Argentine francophone literature; a literature yet to be explored
Doce leite romântico: a presença de Victor Hugo nas crônicas de Machado de Assis
No full textVictor Hugo was the author most cited by Machado de Assis in his chronicles and was of great importance in the construction of his cultural heritage, leaving deep marks in his work. The author of Dom Casmurro read the work of Victor Hugo, admired it, memorized it, and, as a young man, tried to follow the ideals of the French poet. This admiration, however, was never blind, as he condemned the excesses of the Hugoist school led by Sílvio Romero, as well as some texts in bad taste published by the creator of Quasimodo. Likewise, he knew how to look at Victor Hugo with a critical eye, removing from his work only those aspects that could benefit his maturity as a writer. In the case of Machado de Assis, the vision of the Other was always permeated with a critical eye; the foreign presence started to be used for the benefit of its own text, thanks to the establishment of a renewing intertextual practice. It is curious to observe that the massive presence of Victor Hugo in Machado’s chronicles contrasts with a shy or almost non-existent presence in his short stories, poems, plays, and novels. This article intends to establish a hypothesis for such a contrast through the analysis of journalistic texts published by Machado de Assis.Victor Hugo foi o autor mais citado por Machado de Assis em suas crônicas e teve grande importância na construção de seu patrimônio cultural, deixando em sua obra marcas profundas. O autor de Dom Casmurro leu a obra de Victor Hugo, admirou-a, memorizou-a e, quando jovem, tentou seguir os ideais do poeta francês acerca da função da poesia e do teatro. Essa admiração, entretanto, nunca foi cega, pois ele condenou os excessos da escola hugoísta liderada por Sílvio Romero, bem como alguns textos de péssimo gosto publicados pelo criador de Quasímodo. Igualmente, soube olhar para Victor Hugo com olhos críticos, retirando de sua obra somente os aspectos que poderiam beneficiar o seu amadurecimento como escritor. No caso de Machado de Assis, a presença estrangeira era utilizada em benefício de seu próprio texto, graças ao estabelecimento de uma prática intertextual renovadora. É forçoso observar que a maciça presença de Victor Hugo nas crônicas machadianas contrasta com uma presença tímida ou quase inexistente em seus contos, poemas, peças e romances. Este artigo pretende estabelecer uma hipótese para tal contraste, por meio da análise dos textos jornalísticos publicados por Machado de Assis
The irony in the man who laughs at Victor Hugo
No full textCette thèse se propose d'étudier les différentes manifestations de l'ironie dans la poétique romanesque de L'Homme qui rit de Victor Hugo selon trois axes d'étude. Le premier s'organise autour d'une analyse de l'énonciation polyphonique dans le roman. Qui prend en charge le récit et avec quelles intentions? Les propos des personnages sont souvent empreints d'ironie, et sont commentés par le narrateur ou l'auteur. Nous observons surtout la fonction de ses paroles dans l’énoncé : comment leur insertion influence-elle le déroulement du récit? Pourquoi favorisent-elles les manifestations de l’ironie? Puis, le deuxième axe de notre réflexion s'interroge sur le mélange des genres qui favorise également l’émergence de la parole ironique. L'utilisation de l’ironie permet à Victor Hugo de porter un regard critique sur son travail d'écrivain en reconsidérant ses pratiques d’écriture. Dans son roman L'Homme qui rit,il se veut, d’abord, poète en proposant une écriture proche de celle du texte poétique où l’image figure les idées et favorise aussi le registre ironique. L’auteur endosse aussi le rôle de dramaturge en mettant en scène la parole pour la rendre plus ironique et, en même temps, le travail de sape permanent de l’ironie ne fait qu’amplifier les visées politiques et littéraires de l’auteur. Victor Hugo dénonce certaines pratiques politiques afin de remettre en question aussi sa propre expérience d’homme politique. Enfin, le dernier axe de cette étude se propose d'observer la dimension métaphysique de l’ironie au cœur de la poétique en soulignant les différentes influences des mouvements de pensées philosophiques. Dans L’Homme qui rit, on peut distinguer deux choses : l’ironie classique, définie et utilisée au cours de l’Antiquité, et l’ironie moderne, apparaissant à la fin du 18ème siècle, qui correspond à l’émergence de l’ironie romantique. Dans le roman, l’ironie verbale s’inspire des procédés rhétoriques employés par les philosophes de l’Antiquité mais aussi de l’antiphrase, arme favorite des philosophes des Lumières pour qui la littérature ne se présente plus seulement comme un témoignage ou la critique d’une époque, mais elle devient aussi un intermédiaire entre l’écrivain et son lectorat afin que ce dernier s’interroge davantage sur sa condition et sur tout ce qui l’entoure. Dans L'Homme qui rit, l’utilisation de l’ironie n'a pas seulement pour vocation de railler, elle permet au lecteur d’étendre et d’approfondir sa réflexion sur sa propre condition.This thesis suggests studying the various appearances of irony in the romantic poetics of The Man who laughs by Victor Hugo according to three axes of study. The first one gets organized around an analysis of the polyphonic statement in the novel. Who takes care of the narrative and what are the intentions? The comments of the characters are often tinged with irony, and are commented upon by the narrator or the author. We observe especially the function of his words in the statement: how does their insertion influence the unfolding of the narrative? Why do they favor the demonstrations of irony? Then, the second axis of our reflection leads us to wonder about the mixture of the genres which also favors the emergence of the ironic word. The use of irony allows Victor Hugo to take a critical look at his work of writer by reconsidering his practices of writing. In his novel The Man who laughs, he is meant to be, at first, a poet by proposing a writing close to that of the poetic text where the image represents the ideas and also favors the ironic register. The author also assumes the role of playwright by staging the word to make it more ironic and, at the same time, the permanent undermining of irony is only amplifying the political and literary aims of the author. Victor Hugo denounces some political practices to question also his own experience as a politician
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