DSpace Collection:
https://hdl.handle.net/10316/12845
2024-03-28T12:58:38ZMicro e Macro Expressão Tipográfica na Obra de Augusto de Campos
https://hdl.handle.net/10316/89543
Title: Micro e Macro Expressão Tipográfica na Obra de Augusto de Campos
Authors: Santos, Tiago José Miranda
Abstract: Augusto de Campos is one of the main promotores of concretism, specially in Latin America. The attribution of the Janus Pannonius Award (2017) after being awarded with the Brazilian Order of Cultural Merit (2015) and receiving the Pablo Neruda Ibero-American Award (2015) reinforced the recognition of his importance and his poetry through literary world. Text in Concrete Poetry is thought in function of an intensive exploration of the potential expression of each word allowing combined ways of reading without any given order, which will allow multiple ways within the textual surface. The page is a container of ideas and sensations which are expressed from a typographic partiture, exploring rhythmically the weight, the size and the hierarchy and spacing of typography on page, which relates with the inflection, stress and rhythm applied during oral reading (Meggs & Purvis, 2012, p. 261). Current literary reading protocols are broken, making the reading process interactive (Fajardo, 2009, pp. 78-79) while enabling a plurality of aesthetic meanings and effects upon reception of the literary text which is situated at different levels on the same page (Reis, 2013, pp. 19-20). This level of proximity of the reader to the text brings him microtextually closer to the typography, trying to understand the specificity of each typographic element, while trying to meet a macrotextual message by the visual aspect of the text. The appreciation and enjoyment of a text ceases to be purely literary to also cover the assessment of the artistic point of view, aesthetic, social and cultural (Aguilar, 2005, pp. 76-77). In the same way, it allows the transposition and presence of literature beyond its traditional contexts into the fields of other arts, such as galleries and museums. Augusto de Campos' work is characterised by its strong symbolic load, in which the semantic value, syntactic and typographical enhance the value of each and amplify the "overall value" of the text (Portela, 2003, p. 5). In this article it is intended to make an overview of the main Augusto’s poetry fields considering the text and its visual shape and as the printing interferes with reading and activates the various layers of verbivocovisual significance (Portela, 2003, p. 3) as well as the analysis of cultural references and symbolic values associated with specific types and designs of the letters used, as well as production and reproduction technologies.2019-10-01T00:00:00ZMontagem, Colagem, Justaposição; A Poesia Concreta como meio do Cinema
https://hdl.handle.net/10316/89541
Title: Montagem, Colagem, Justaposição; A Poesia Concreta como meio do Cinema
Authors: Santos, Tiago José Miranda
Abstract: O concretismo é o derradeiro episódio do modernismo sendo no Brasil que se manifestou com maior expressividade através dos grupos paulistas Noigandres e o Ruptura, promovendo espaços como a galeria, o museu e o espaço expositivo no escopo literário. Veio promover a função e o utilitarismo aliado à pureza da forma despojando-se de subjetividade atingindo a verbivocovisualidade - simbiose entre o verbo, a voz e a componente visual. Segundo Waldemar Cordeiro, a racionalidade da arte concreta é a fundamentação da sua objectividade, indo ao encontro do diálogo “forma-conteúdo-função” promovido pelo grupo Noigandres. Os objectos artísticos concretos são metareferenciais promovendo-se intermedialmente como uma experiência (Grünald, 1964, p. 136) indo ao encontro das linguagens dos meios. Os cine, video e os clip poemas vieram introduzir o concretismo na imagem em movimento. Face a uma evidente composição que integra elementos advindos de diversos media distintos, que redunda num e thos essencialmente plástico, imagético e m óvel da poética concretista, pretendemos indagar como este movimento se relaciona com o dispositivo do cinema. Com efeito, e à semelhança do que se verifica na obra poética, as incursões concretistas no cinema vêm demonstrar um re-pensamento das funções da arte, criando, através de uma exploração do signo (que é ao mesmo tempo linguístico e gráfico), uma fusão entre a produção artística e a reflexão teórica e, na esteira do entendimento de Raymond Bellour, um cinema do dispositivo. Assim, e tendo em conta que a metalinguagem é a proposta principal do Concretismo, pretendemos verificar como esta resulta, também, num meta-cinema.; Concretism, the last global episode of modernism. It is on Brazil that it has reached its most expressivity by Noigandres and Ruptura group promoting the art gallery, the museum and other exhibition sites within the literary scope. It started to promote function and utilitarianism allied to the purity of form, stripping any kind of subjectivity reaching its verbivocovisuality – the symbiosis between verb, voice and visual. According to Waldemar Cordeiro, the rationality of concrete art is the fundamentals of its objectivity, meeting the “form-content-function” discourse promoted Noigandres. The concrete art objects are meta-referential and intermedial, endorsing themselves as an experience instead of a translation of experiences (Grünald, 1964, p.136), going towards the languages of each media. Cine, Video and Clip poems introduced concretism into the realm of the moving image. Thus, in face with a configuration which contains features from several distinct media that outcomes in an essentially plastic, imagistic and moving ethos of concrete poetic, w e aim to inquire this movement relationship with the film apparatus. Indeed, and in a similar way to what has been verified on the poetic works, the concretist incursions in film validate a re-thinking of the functions of art, creating, through the exploration of the sign (which is at the same time linguistic and graphical), a fusion between the artistic production and the theoretical reflection and, as observed by Raymond Bellour, a “cinema of the apparatus”. In this way, and having in account that the meta-language is the main proposal of Concretism, we intend to verify how this result, as well, in a meta-cinema.2018-07-01T00:00:00ZEntre el antiguo adultério y la moderna infidelidade: los triângulos amorosos en el Quijote
https://hdl.handle.net/10316/47049
Title: Entre el antiguo adultério y la moderna infidelidade: los triângulos amorosos en el Quijote
Authors: Dotras Bravo, Alexia
Abstract: Los discursos, actos y hechos protagonizados por mujeres en el Quijote han sido ampliamente analizados por la crítica cervantina desde los inicios dei siglo XX y el emblemático estúdio de Concha Espina que conmemora cien anos en este 2016. Especialmente desde los anos 80 y con una creciente fuerza en este siglo XXI, como se puede observar en un panorama critico recientemente publicado (Detrás Bravo, 2015), el cervantismo recurre a las figuras femeninas en su simbologia más profunda, en su significado amoroso y sexual. En este caso, se pretende recuperar el concepto de 'adultério' en el Siglo de Oro, contrapuesto paradójicamente al manido infidelidad' actual, que se vinculaba con la mujer.2016-01-01T00:00:00ZA personagem como estratégia de imersão em reportagem
https://hdl.handle.net/10316/43469
Title: A personagem como estratégia de imersão em reportagem
Authors: Peixinho, Ana Teresa; Marques, Inês Fonseca2016-03-01T00:00:00Z