Miriam de Paiva Vieira é professora do Departamento de Letras, Artes e Cultura e coordenadora do Programa de Pós-Graduação em Letras da UFSJ. Coordenadora do GT Anpoll Intermidialidade: Literaturas, artes e mídias, membro do conselho da International Society for Intermedial Studies, membro do Grupo de Pesquisa Intermídia (CNPq) e credenciada nas associações IAWIS: International Association of Word and Image Studies e CRIalt: Centre de recherches intermédiales sur les arts, les lettres et les techniques. Entre suas publicações, destaca-se a coedição do The Palgrave Handbook of Intermediality. Áreas de interesse: estudos sobre a intermidialidade, écfrase, e relações entre literatura e arquitetura.
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Address: Rua: Tenente Garro
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Literary critics have time and again debated Brazilian literature’s distinctiveness in its use of referentiality. Looking at the world today, it is not difficult to justify the reasons for this tendency. In this paper, we present some elements that show how the novel Opisanie świata, by Veronica Stigger, strengthens this strategy by assembling indistinguishable quotations. Yet, “as if” (Rajewsky) it were a travel guide, the narrative departs from a reference to the eponymous work by Roman Opałka. The story told by Stigger, by taking advantage of the editorial project as a constructor of meaning, turns the narrative into a “total book” (Maziarczyk): transtextual, intermedial, and multimodal.
O tempo é um dos grandes temas da arte, mas não exatamente ele, e sim o que sua ação faz sobre as pessoas, sempre o verdadeiro foco da criação artística: a existência humana. Em Aqui (2017), graphic novel de Richard Mcguire, o tempo se torna uma espécie de narrador-personagem na sua intersecção com o espaço. Neste artigo, nossa leitura de Aqui focaliza essa relação, entendendo aquilo que Lars Elleström (2021) chama de modalidade espaçotemporal como um dos principais elementos narrativos, em que o narrador se mostra como essa câmera fixada pelo tempo, mostrando o espaço da quina de uma sala como uma personagem-testemunha de uma longa história. Para tal, fazemos convergir teorias da intermidialidade, da ficção e dos quadrinhos, e suas relações com a arquitetura.
ABSTRACT: For Roland Barthes (1968:86), ekphrasis is a “detachable, shining excerpt,” whereas to intermedial models, it is a medial phenomenon. Both approaches acknowledge that its source may go beyond works of art, including other forms of expression, such as architecture. When ekphrasis departs from an edifice to be made present by a literary piece, it demands an active mental movement by the recipient in the imagined space, within diegetic time. Thus, it renders a significant and evocative referential frame that is verbally performed to fulfill an emotional, epistemological purpose in order to elucidate not only familiar created environments, but also architectural sites that the reader has not seen before. Moreover, besides the transfer of medial properties issues, it also demands audience recognition. Henceforth, the aim of this chapter is to present an interpretative model in order to evidence how, by means of ekphrasis, architecture is present, and not detachable, from the narrative of the contemporary Künstlerroman inspired by the life and work of Elizabeth Bishop, American poet, and her life partner Lota de Macedo Soares, Brazilian self-taught architect in The More I Owe You (2010), by Michael Sledge.
The crossing of borders between architecture and literature has been scrutinized under various scopes. However, the two media types are rarely studied together in terms of “architectural ekphrasis”. The aim of this chapter is to elaborate on this notion by investigating the modes of architecture. To achieve that goal, the author counts on architecture as a medium, as suggested by Patrick Schumacher. Since the limited amount of architectural media traits that are likely to be satisfactorily transmediated by literature are not fully identified by the parameters of already consolidated pictorial models, the author also uses Elleström’s model for analyzing media transformations. The four modalities of media, along with their qualifying aspects, are the backbone of an interpretative framework proposed to explore the presence of architecture in literature. The chapter also leans on the notions of embodiment and perspective.
analyse the novel Girl with a Pearl Earring, by the American author Tracy Chevalier, who lives in London at present. The
literary work, built by means of ekphrastic descriptions, is a type of novel called Künstlerroman. The life and artwork of the Dutch painter Johannes Vermeer are blended with fiction and told by the
invented model of the portrait Girl with a Pearl Earring, Griet, who also happens to be the protagonist of this novel.
Literary critics have time and again debated Brazilian literature’s distinctiveness in its use of referentiality. Looking at the world today, it is not difficult to justify the reasons for this tendency. In this paper, we present some elements that show how the novel Opisanie świata, by Veronica Stigger, strengthens this strategy by assembling indistinguishable quotations. Yet, “as if” (Rajewsky) it were a travel guide, the narrative departs from a reference to the eponymous work by Roman Opałka. The story told by Stigger, by taking advantage of the editorial project as a constructor of meaning, turns the narrative into a “total book” (Maziarczyk): transtextual, intermedial, and multimodal.
O tempo é um dos grandes temas da arte, mas não exatamente ele, e sim o que sua ação faz sobre as pessoas, sempre o verdadeiro foco da criação artística: a existência humana. Em Aqui (2017), graphic novel de Richard Mcguire, o tempo se torna uma espécie de narrador-personagem na sua intersecção com o espaço. Neste artigo, nossa leitura de Aqui focaliza essa relação, entendendo aquilo que Lars Elleström (2021) chama de modalidade espaçotemporal como um dos principais elementos narrativos, em que o narrador se mostra como essa câmera fixada pelo tempo, mostrando o espaço da quina de uma sala como uma personagem-testemunha de uma longa história. Para tal, fazemos convergir teorias da intermidialidade, da ficção e dos quadrinhos, e suas relações com a arquitetura.
ABSTRACT: For Roland Barthes (1968:86), ekphrasis is a “detachable, shining excerpt,” whereas to intermedial models, it is a medial phenomenon. Both approaches acknowledge that its source may go beyond works of art, including other forms of expression, such as architecture. When ekphrasis departs from an edifice to be made present by a literary piece, it demands an active mental movement by the recipient in the imagined space, within diegetic time. Thus, it renders a significant and evocative referential frame that is verbally performed to fulfill an emotional, epistemological purpose in order to elucidate not only familiar created environments, but also architectural sites that the reader has not seen before. Moreover, besides the transfer of medial properties issues, it also demands audience recognition. Henceforth, the aim of this chapter is to present an interpretative model in order to evidence how, by means of ekphrasis, architecture is present, and not detachable, from the narrative of the contemporary Künstlerroman inspired by the life and work of Elizabeth Bishop, American poet, and her life partner Lota de Macedo Soares, Brazilian self-taught architect in The More I Owe You (2010), by Michael Sledge.
The crossing of borders between architecture and literature has been scrutinized under various scopes. However, the two media types are rarely studied together in terms of “architectural ekphrasis”. The aim of this chapter is to elaborate on this notion by investigating the modes of architecture. To achieve that goal, the author counts on architecture as a medium, as suggested by Patrick Schumacher. Since the limited amount of architectural media traits that are likely to be satisfactorily transmediated by literature are not fully identified by the parameters of already consolidated pictorial models, the author also uses Elleström’s model for analyzing media transformations. The four modalities of media, along with their qualifying aspects, are the backbone of an interpretative framework proposed to explore the presence of architecture in literature. The chapter also leans on the notions of embodiment and perspective.
analyse the novel Girl with a Pearl Earring, by the American author Tracy Chevalier, who lives in London at present. The
literary work, built by means of ekphrastic descriptions, is a type of novel called Künstlerroman. The life and artwork of the Dutch painter Johannes Vermeer are blended with fiction and told by the
invented model of the portrait Girl with a Pearl Earring, Griet, who also happens to be the protagonist of this novel.
Este livro busca responder a essa questão a partir de uma visão expandida das acepções de imagem e ruína que coloca em relevo a potência desse encontro enquanto categoria voltada a pensar um conjunto heteróclito de fenômenos contemporâneos. Desse modo, os artigos que integram este volume colocam em causa práticas socioculturais, como a gambiarra e o colecionismo; processos de subjetivação, como a experiência diaspórica e os afetos de melancolia; formas de segregação socioespacial, como o racismo ambiental e a degradação das cidades; e questões estético-políticas, como os modos nos quais as imagens fotográfica e cinematográfica conformam imaginários distópicos, assim como as imagens poéticas, por seu turno, representam a decomposição da natureza e os destroços do mundo urbano.
Se, como afirma o filósofo francês François Soulage, em entrevista que integra este livro, “a imagem está sempre à espreita da ruína”, Imagem e ruína atesta sua relevância como sismógrafo de um mundo fortemente vincado, justamente, pela experiência das imagens de ruínas na produção de nossa consciência histórica do presente, seja em virtude dos efeitos dramáticos do extrativismo, da estetização dos escombros das guerras ora em curso ou das políticas de (des)construção da memória.
Por Alex Martoni (PUC Minas)
Link to institutional access: https://link.springer.com/referencework/10.1007/978-3-030-91263-5
Link livre acesso e-book: http://www.finotracoeditora.com.br/livros/000558/9788580544008/e-book-escrita-som-imagem-perspectivas-contemporaneas.html
ensaios de pesquisadores e professores que investigam questões de natureza transdisciplinar, envolvendo a literatura, a música, as artes visuais, a fotografia, a arquitetura, o cinema, bem como as mídias televisivas e digitais, visando a compreensão dos novos fenômenos culturais da contemporaneidade. O objetivo desta publicação é contribuir para a consolidação das pesquisas no campo dos estudos da intermidialidade, por meio da discussão de questões conceituais e da divulgação de pesquisas na área.
ISSN: 978-85-8054-400-8