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Parisian apographs of Miranda with his poetry selection sent to the prince: study of their bibliographic code, poetic chant, bucolic drama and uttered letters in lines

Grant number: 19/19688-9
Support Opportunities:Scholarships abroad - Research
Effective date (Start): March 01, 2020
Effective date (End): July 31, 2020
Field of knowledge:Linguistics, Literature and Arts - Literature - Other Vernacular Literatures
Principal Investigator:Marcia Maria de Arruda Franco
Grantee:Marcia Maria de Arruda Franco
Host Investigator: Maria Cristina Pais-Simon
Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil
Research place: Université Sorbonne Nouvelle - Paris 3, France  


Although disclosed since 1885, in the monumental edition of Carolina Michaelis de Vasconcelos, Poetry of Francisco de Sá de Miranda, and scanned in GALLICA, the two manuscripts of his poetry kept in Portuguese funds of National Library of France have never been available in book, probably because they are not autographs, but copies of the poetry sent to the heir to the Portuguese crown, prince John, son of John III and father of Sebastian, dead on the second January 1554. Precisely because it is a copyright document by Sá de Miranda, his short autograph found in Portuguese National Library was immediately published in facsimile with transcription noted by that important philologist, in 1911. I propose to exam their bibliographic code and their network of representation. The Manuscript of Paris will be studied as an attempt to edit Miranda's musical poetry (ballads, sonnets and song to Our Lady). The Manuscript of Paris is unique on this matter (sung poetry), contains notes, items with information and private writing and is a manuscript of 1564, that is a publishing project of Sá de Miranda's lyrics sent to the prince, three decades before its first press edition in 1595. If the Manuscript of Paris contains only the first set of poetry sent to the prince, Ferdinand Denis' manuscript contains three remittances, so that it was chosen to be the main basis of 1885 edition. The first set will be confronted with its record in the Manuscript of Paris. The second meets its satire, that circulated in acted eclogues as Alexo, Basto and in his fortunate letters in lines, moral dissertation vocalized in verse. In the third offering, bucolic drama features a conversation in lines among the poets-shephards, mainly in Spanish, but also singing scenes.I want to show that in those manuscripts the ordering of poetic material under a given bibliographic code - set of paratextos, idiom, arrangement of verses in stanzas and page, performance directions, dedications and notes - can be read as signals from the past, hints about vocal music, dance, social dramatization of poetic words, in short, means of displaying poetic performances in Court society. Both Parisian manuscripts with Miranda's poetry sent to the prince will be analyzed not only from a material point of view, but also as a network that records the historical characters or anonymous ones mentioned by the lines, and by noting the lexicon related to singing, vocalization, music, musical instruments, dances, plays, in order to scale the uses of poetic genres at cerimonial and everyday life events of Portuguese monarchy. Here, notwithstanding the moral interpretation, I will study the letters and eclogues in what they can tell us about songs, performing and acting, approaching them as actual communicative situations or kind of shows. I intend to exam both documents directly in search of the cultural history that arouses from their bibliographic code, along with a different practice of philology. I attach importance to the apograph because I consider it as a reception of Miranda's poetry, as an editorial project, which put his poetry to circulate in sixteenth century. From these documents emanate a number of historical issues, ranging from the editorial process of handwriting to the representation of social, artistic, poetic and musical aspects, that remain gathered in each particular set of poems of both apographs. In time, I will seek to disclose the results of this research in academic papers, and, in hard copy, the facsimile of the two Parisian apographs, with notes on the social situations in which the poetic word was used in Portuguese Christian monarchy, along XVIth century. (AU)

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