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L’analyse des Vies du jésuite portugais João Cardim – De vita, et moribus P. Ioannis Cardim Lusitani e Societate Iesu (1645), de Filipe Alegambe, et Vida e virtudes do admiravel Padre João Cardim (1659), du P. Sebastião de Abreu – montre comment ces textes ont été conçus et utilisés dans le cadre de son procès de canonisation. Cependant, bien qu’il soit mort en odeur de sainteté et qu’on lui ait attribué des vertus héroïques et des miracles post mortem, le procès n’a pas eu le résultat attendu.

L'apparition de l’imprimerie à caractères mobiles a provoqué de profonds changements dans le domaine de la production du livre, qui montre une autonomisation croissante par rapport aux modèles graphiques du codex médiéval, en favorisant une diffusion multiple de textes de typologie différente. Dans le cas portugais, depuis les incunables, les œuvres inscrites dans le cadre de la littérature religieuse ou de spiritualité ont longtemps mérité l'attention de l’imprimerie: dans ce cadre, on met en évidence les «Vies» de saints, bienheureux, vénérables, hommes et femmes «illustres en vertu», avec une fonction exemplaire, dont les buts immédiats sont la glorification de la personne en question, l'édification spirituelle et la promotion de son culte -- et dans de nombreux cas, pour stimuler la béatification ou la canonisation de ce «chrétien exceptionnel». Dans ce contexte, cet article cherche à attirer l'attenti onn sur la centralité de l'apparition de l’imprimerie au Portugal, non seulement comme moyen de diffusion de la culture écrite à travers les «Vies» de saints et les «Vies» dévotes, ainsi que la culture visuelle, dans la mesure où ces œuvres sont généralement accompagnées par des images des personnages en question, qui déclinent de nouveaux goûts esthétiques et un souci croissant de l'attractivité des livres, à partir du XVIe siècle, mais aussi pour les contextes de l'édition et de la circulation des œuvres, en analysant leurs prologues et dédicaces, ce qui nous permet d'entrevoir des réseaux clientélistes et de solidarité qui unissent les auteurs et les mécènes, qui sont configurés comme principaux « acteurs » dans le contexte des stratégies de communication de ce temps-là, et que, dans le cas des mécènes, favorisent l'émergence et la mise en place de moyens qui contribuent au renforcement de leur prestige familial et leur pouvoir symbolique. The appearance of the movable-type printing has brought about profound changes in the field of book production, which shows a growing autonomy over the graphic models of the medieval codex, by favoring a multiple distribution of texts of different typology. In the Portuguese case, since the incunabula, the works inscribed within the framework of the religious literature or of spirituality have long deserved the attention of the printing press: in this frame, one highlights the “Lives" of saints, blessed, venerable and men and women “illustrious in virtue", with exemplary function, whose immediate goals are the glorification of the person in question, the spiritual edification and the promotion of his/her cult -- and in many cases, to stimulate the beatification or the canonization of this “exceptional Christian". In this context, this article seeks to draw attention to the centrality of the emergence of printing in Portugal, not only as a means of spreading the written culture through the “Lives" of saints and the devout “Lives", as well as visual culture, as these works are generally accompanied by images of the characters in question, which offer new aesthetic tastes and a growing concern for the attractiveness of books, from the XVIth century, but also for the contexts of publishing and circulation of works, by analyzing their prologues and dedications, which allows us to glimpse the clientelist and solidarity networks that unite authors and patrons, who are configured as main “actors" in the context of the communication strategies of that time, and that, in the case of patrons, promote the emergence and the establishment of means that contribute to the strengthening of e their family prestige and their symbolic power., Ticontre. Teoria Testo Traduzione, N. 11 (2019)

Developed since the Middle Ages – Horto do Esposo being an example – but widely spread through ancestral oral circulation, the tale knows in Portugal a very significant success, with the edition of Contos e Histórias de Proveito e Exemplo (1575), by Gonçalo Fernandes Trancoso, which, as is well known, reflects, to a large extent, the reception and influence of the Italian “novella”, especially those written by Boccaccio or Bandello. Despite the fact that during the XVII th century, in Portugal, no collection of short stories, like that by Trancoso, was published, this does not mean that the genre has fallen into disuse or oblivion. In this sense, trying to show the continuity of the tale in the written discourse, this article seeks to draw attention to the ways in which this genre continued to be cultivated, although sometimes presenting different nuances, tributaries of a clear intertextuality, from the perspective of their role to teach and to entertain, in works such Casamento Perfeito (1630) by Diogo Paiva de Andrada, Baculo Pastoral (1624), by Francisco Saraiva de Sousa, Paralellos de Principes (1623), by Francisco Soares Toscano, or Agiologio Lusitano (1652-1666), by Jorge Cardoso., Género cultivado, por meio do registo escrito, desde a Idade Média – de que é exemplo o Horto do Esposo –, mas largamente difundido através de uma ancestral circulação oral, o conto conhece, em Portugal, um muito significativo sucesso, com a edição dos Contos e Histórias de proveito e exemplo (1575), de Gonçalo Fernandes Trancoso, que, como é sabido, reflete, em boa medida, a receção e a influência da “novella” de matriz italiana, sobretudo de Boccaccio ou Bandello. Pese embora o facto de, ao longo do século XVII português, não ter sido editada qualquer coletânea de contos, nos moldes da de Trancoso, tal quadro não significa que o género tenha caído em desuso ou no esquecimento. Neste sentido, tentando mostrar a perenidade do conto no discurso escrito, este artigo procura chamar a atenção para os moldes em que este género continuou a ser cultivado, ainda que, por vezes, apresentando matizes diversos, tributários de uma evidente intertextualidade, mas que não poderão ser dissociados da sua função didáctica e de entretenimento, como o Casamento Perfeito (1630), de Diogo Paiva de Andrada, o Baculo Pastoral (1624), de Francisco Saraiva de Sousa, os Paralellos de Principes (1623), de Francisco Soares Toscano, e até mesmo o Agiologio Lusitano (1652-1666), de Jorge Cardoso.