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Heloisa Maria Murgel Starlinghttp://lattes.cnpq.br/3321652451642202Miriam Hermeto de Sá MottaRafael ScopacasaLorena Lopes da CostaRenata Senna Garraffonihttp://lattes.cnpq.br/3899347398125661Igor Barbosa Cardoso2020-06-22T17:29:38Z2020-06-22T17:29:38Z2019-10-23http://hdl.handle.net/1843/33665https://orcid.org/0000-0002-2460-2693Nas palavras de Giles Barber, Dáfnis e Cloé é um “desconhecido best-seller”. Os termos utilizados são argutos, capazes de expressar, ao mesmo tempo, a trajetória subterrânea e fecunda da obra antiga no período moderno. Desde o século XVI, o amor idílico em Longo serviu de modelo e inspiração para as produções culturais vindouras, apesar de nem sempre reconhecidos. Esse é o caso de Roberto Freire, que, frequentemente lembrado pela criação da somaterapia, é autor do romance Cleo e Daniel (1965), cujo enredo envolve a tradução de Dáfnis e Cloé ao português. Mais do que mera referência ao texto antigo, Freire explicitou, em diversos momentos, a importância de Longo para a formulação de suas ideias. No entanto, nem mesmo o sucesso de vendas de Cleo e Daniel avalizou leituras que efetivamente aproximassem o passado longínquo a esse passado recente. Haveria alguma presença do antigo amor entre dois jovens apaixonados na elaboração da terapia de Freire? A tese não responde precisamente a essa questão, mas pode servir como instigante ponto de partida, ao debruçar-se sobre a reformulação do idílio antigo no romance de Freire, tanto quanto em suas primeiras investidas artísticas (teatro e telenovela), tendo em vista as convulsões sociais e políticas que aconteciam no Brasil. Para tanto, é necessário, antes, inquirir o que Freire efetivamente pode mobilizar da obra de Longo, pois, entre os séculos II e XX, há uma infinidade de mediações, que ora suprimem, ora adicionam valores, programas e imaginários – e não somente palavras. Duas traduções francesas são particularmente importantes. Com Les amours pastorales (1559), Jacques Amyot verteu Longo pela primeira vez ao vernáculo e, com Daphnis et Chloé (1810), Paul-Louis Courier retomou a primeira tradução para corrigir passagens consideradas pouco fieis ao texto antigo, além de apresentar um novo entrecho de Dáfnis e Cloé – até então dado como perdido –, em um desventuroso episódio que acabou por danificar o importantíssimo manuscrito de Florença. Ao coligir as três traduções com o texto antigo, não se busca desvendar o “original”, mas evidenciar a importância dos estudos de recepção da cultura clássica para a compreensão de problemas modernos e, em última análise, o papel que ela pode conferir para a compreensão da história antiga: enfim, busca-se exprimir a pertinência dos antigos entre nós.In Giles Barber’s words, Daphnis and Chloe is an “unknown bestseller”. The terms used by the author are insightful, simultaneously expressing the underground and fruitful pathway of the Ancient text in Modern History. Since the 16th century the idyllic love as devised by Longus has worked both as a role model and an inspiration for future cultural production, even though it has not always been recognized as such. This is the case of Roberto Freire, who is often remembered as the creator of somatherapy. Freire is also the writer of Cleo e Daniel (1965), which plot involves the translation of Daphnis and Chloe into Portuguese. More than a simple reference to the Ancient text, Freire considered, at various times, the importance of Longus for the formulation of his ideas. However, not even Cleo e Daniel’s sales success endorsed analysis that effectively approach the distant past in relation to this recent past. Was there any presence of the ancient passion between the two young lovers in the elaboration of Freire’s therapy? This doctoral dissertation does not answer this question in particular. However, it can work as an intriguing starting point for this as it addresses the reformulation of the Ancient idyll in Freire’s novel, as well as in his first artistic production (on theater and soap opera), in view of the social and political upheavals that took place in Brazil. In order to do so, the dissertation first inquires what Freire could effectively mobilize from Longus’ writings. Between the 2nd and 20th centuries, the text passed through a myriad of cultural mediations, which sometimes suppressed and in others added values, programs and imaginary – and not only words – to the Ancient novel. Two French translations had a major importance. Longus’ first vernacular edition was Les amours pastorales (1559), by Jacques Amyot. With Daphnis et Chloé (1810), Paul-Louis Courier resumed the first translation to correct passages considered unfaithful to the Ancient text. He also introduced a new passage from Daphnis and Chloé – hitherto lost – in an unfortunate episode that ended damaging the important manuscript of Florence. Comparing the three translations with the Ancient text, this dissertation does not seek to unravel the “original”. It aims to highlight the importance of Classical Reception Studies on understanding modern problems and, ultimately, the role it has on understanding Ancient History itself. Lastly, the dissertation expresses the relevance of the Ancients among us.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorporUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em HistóriaUFMGBrasilFAF - DEPARTAMENTO DE HISTÓRIAhttp://creativecommons.org/licenses/by-nc-nd/3.0/pt/info:eu-repo/semantics/openAccessRomanceTraduçãoRecepçãoTradiçãoO amor em Dáfnis e Cloé : as traduções de Jacques Amyot (1559), Paul-Louis Courier (1810) e Roberto Freire (1965)The love in Daphnis and Chloe: the translations by Jacques Amyot (1559), Paul-Louis Courier (1810) and Roberto Freire (1965)info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALCARDOSO, Igor B. - O amor em Dáfnis e Cloé (com capa).pdfCARDOSO, Igor B. - O amor em Dáfnis e Cloé (com capa).pdfapplication/pdf6237766https://repositorio.ufmg.br/bitstream/1843/33665/1/CARDOSO%2c%20Igor%20B.%20-%20O%20amor%20em%20D%c3%a1fnis%20e%20Clo%c3%a9%20%28com%20capa%29.pdfdc1c180a780781cb250e0787e94cb3c5MD51CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8811https://repositorio.ufmg.br/bitstream/1843/33665/2/license_rdfcfd6801dba008cb6adbd9838b81582abMD52LICENSElicense.txtlicense.txttext/plain; charset=utf-82119https://repositorio.ufmg.br/bitstream/1843/33665/3/license.txt34badce4be7e31e3adb4575ae96af679MD531843/336652020-06-22 14:29:38.118oai:repositorio.ufmg.br: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Repositório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2020-06-22T17:29:38Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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