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This research aimed at comparing the visual poetry and haiku, having as investigative impulse the aesthetic contributions of these poetic forms to contemporary poetry in our country. In order to achieve our goal, we chose Augusto de Campos´ visual poems and the Haiku by Paulo Leminski. Then, it was verified which poetics aspects of these authors narrow and / or distance aesthetically, and what the theoretical consequences of such narrowing or distancing are. To compose the corpus of this research it was chosen the poems by Augusto, present in his work: Viva Vaia (2014), which contains poems from 1959 to 1979. It was also used Leminski Haiku´s, which presents visual aids in their constitution, Caprichos & relaxos (2016). The corpus analysis of the research was carried out having as a background the General Theory of Signs, elaborated by the American thinker Charles Sanders Peirce. Thus, it was prioritized the three categories of the sign that form the most important of the trichotomies considered by the North American researcher in his speculative grammar: the symbol, the index and the icon; of this last category, it was emphasized its subclassification: the image, the diagram and the metaphor. It was used as theoretical contributions the studies of Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012), among other authors. We found out that one of the biases that narrows the poetics of these authors is an inclination towards dialogue with the Eastern tradition, based on the way of composing inspired by Japanese ideograms whose influence was a “watershed” for many Western poets in the 20th century, reverberating also in the productions of the 21st century. RÉSUMÉ. Cette recherche est dédiée à l’ étude comparative entre poésie visuelle et haiku pour étudier les contributions esthétiques de ces formes poétiques presentes dans la poésie contemporaine du Brésil. Pour cela, nous avons choisi les poèmes visuelles d’Augusto de Campos et les haiku de Paulo Leminski; on vérifie alors sous quels aspects la poétique de ces auteurs approche et ou distancie esthètiquemente et quelles sont les conséquences théoriques de celle approche et ou distance. Pour le corpus de la recherche, nous avons choisi les poèmes d ‘Augusto dans l’oeuvre Viva Vaia (2014) qui a rassemblé oeuvres poétiques de 1959 -1979. Nous utilisons également, haiku de Leninski qui ont des aides visuelles dans leur constituition, publiés dans le livre Caprichos & relaxos (2016). Siècle. Nous avons réalisé l’analyse du corpus de recherche à la lumière de la Theorie Général des Signes, prèparée par le penseur américain Charles Sanders Peirce. Ainsi, nous priorisons les trois catégories du signe qui forment la trichotomie la plus importante envisagée par le chercheur nord-américain dans son gramatique spéculatif: le symbole, l’ index et l’icône; de cette dernière catégorie nous soulignons sa sous-classification: l’image, le diagramme et la métaphore. Nous avons utilisé comme contribuition théorique les études de Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012), entre autres. Nous avons constaté que l’ un des biais qui approche la poétique de ces auteurs est la inclination au dialogue avec la tradiction orientale, basée sur la manière de composer inspirée de idiogrammes japonais, dont l’influence a été importante pour de nombreux poetes occidentaux au XXe siècle, egalement dans les productions du XXle. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES Esta pesquisa dedicou-se ao estudo comparativo entre a poesia visual e o haicai, tendo como motivação investigativa as contribuições estéticas dessas formas poéticas para a poesia contemporânea em nosso país. Para tal fim, elegemos os poemas visuais de Augusto de Campos e os haicais de Paulo Leminski. Verificamos, então, em quais aspectos a poética desses autores se aproxima e ou se distancia esteticamente e quais as consequências teóricas dessa aproximação ou desse distanciamento. Escolhemos para compor o corpus da pesquisa poemas de Augusto de Campos, presentes na obra Viva Vaia (2014), que reúne poemas de 1959-1979. Utilizamos também haicais de Paulo Leminski, os quais apresentam recursos visuais em sua constituição, publicados no livro Caprichos & relaxos (2016). Realizamos a análise do corpus da pesquisa à luz da Teoria Geral dos Signos, elaborada pelo pensador norte-americano Charles Sanders Peirce. Priorizamos, assim, as três categorias do signo que formam a mais importante das tricotomias consideradas pelo pesquisador norte-americano, em sua gramática especulativa: o símbolo, o índice e o ícone. Dessa última categoria, ressaltamos a sua subclassificação: a imagem, o diagrama e a metáfora. Além da referência à obra de Peirce, utilizamos, como aporte teórico, entre outros, estudos de Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012). Dentre os resultados dessa pesquisa, constatamos que um dos vieses que aproxima da poética desses autores é uma inclinação para o diálogo com a tradição oriental, baseada no modo de compor, inspirado nos ideogramas japoneses, cuja influência foi um “divisor de águas” para muitos poetas ocidentais, no século XX, reverberando igualmente nas produções do século XXI.

A presente investigação pretende analisar obras da Poesia Experimental Portuguesa, iniciada na década de 1960, usando tópicos da visualidade que contribuam para uma reflexão alargada sobre esta produção no contexto interdisciplinar e internacional da Neovanguarda. O corpus de obras experimentais organiza-se em dois grupos para implementar métodos complementares de leitura, longitudinais e transversais, que recorrem a várias estratégias visuais. Um grupo tem um critério autoral e examina sobretudo publicações individuais de Poesia Visual de Ana Hatherly e António Aragão. O outro grupo privilegia afinidades processuais e temáticas utilizadas por diferentes autores do Experimentalismo. Como tal, este estudo tem como o principal objectivo perceber as implicações dos recursos materiais e visuais da Poesia Experimental portuguesa nos modos como as suas obras se dão a ler e a ver. The current research intends to analyze works of Portuguese Experimental Poetry, a movement initiated in the 1960s, using topics of visuality in order to enable a broader reflection upon this production within the interdisciplinary and international context of the Neo-avant-garde. The set of Experimental works is organized in two main groups to allow complementary reading methodologies, longitudinal and transversal, that make use of several visual strategies. One group is author-based and examines mostly individual editions of Visual Poetry published by Ana Hatherly and António Aragão. The other group is focused on specific procedural and thematic affinities shared by different Experimental practices. Therefore, the ultimate purpose of this study is to understand how material and visual resources used in Experimental Poetry widen the ways in which its own works offer themselves to the reader and to the viewer.

User de la machine en poésie, c’est travailler avec et contre la technologie : les postures des expérimentaux font entendre un regard critique loin des élans futuristes sur la société technologico-médiatique. Si le recours aux technologies nouvelles, du magnétophone à l’ordinateur, comme outils d’écriture a été commenté, leurs usages et mésusages restent, semble-t-il, à interroger plus avant dans leurs implications esthétiques, poétiques et politiques., To use the machine is to work with and against technology: the postures of the experimentalists show a critical eye away from the futuristic outbursts of technology-media society. While the use of new technologies, from tape recorders to computers, as writing tools has been commented on, their uses and misuses apparently remain to be further questioned in their aesthetic, poetic and political implications.

The anthology Con-cierto visual sentido. Poemas (1968-2004), by the professor, poet, painter and famed avant-garde scholar Rafael de Cózar (Tetuán, 1951 – Bormujos, Seville, 2014), includes a selection of compositions in verse, calligrams, visual poems in the strict sense and others that are illustrated. Cózar first approached painting and then writing, until he merged both aspects into visual poetry, and this with other arts. The interdependence of word and image runs throughout his creative career, from the seventies to the new century, as a fundamental part of his neo-avant-garde experimentation guided by an evocative and comprehensive yearning, which responds to his peculiar conception of total art. After the first part of the article that deals with the subject from the theoretical, methodological and contextual point of view, the fourth section describes and classifies the visual poems of the different stages according to their form and artistic techniques. This is followed by a hermeneutical analysis of a selection of Cózar’s works. La antología Con-cierto visual sentido. Poemas (1968-2004), del catedrático, poeta, pintor y afamado estudioso de las vanguardias Rafael de Cózar (Tetuán, 1951 – Bormujos, Sevilla, 2014), recoge una selección de composiciones en verso, caligramas, poemas visuales en su sentido estricto y otros más bien ilustrados. Cózar se acercó primero a la pintura y luego a la escritura, hasta fundir las dos vertientes en la poesía visual, y ésta con otros artes. La interdependencia de palabra e imagen recorre toda su trayectoria creativa, desde los setenta hasta el nuevo siglo, como parte fundamental de su experimentación neovanguardista guiada por un anhelo evocador y abarcador, que responde a su peculiar concepción de arte total. Tras la primera parte del artículo que aborda el tema desde el punto de vista teórico, metodológico y contextual, la cuarta sección describe y clasifica los poemas visuales de las diferentes etapas según su forma y técnicas artísticas. Sigue un análisis hermenéutico de una selección de las obras de Cózar.

Charles Bukowski called poetry ‘what happens when nothing else can’. But what happenswhen poetry can’t? Through autoethnography and poetic inquiry, this article considers visualwriting and alogia, which in psychiatric discourses represents paucity of speech and languageindicative of thought disorder. I write as a poet who experiences mild alogia during bipolardepressive phases. While generally manageable, depression for me often forecloses my usualword-based writing practices. Visual poetry, however, remains possible; it becomes the poetrythat ‘nothing’ (depression’s void) makes happen. Connecting this phenomenon with researchinto writing-as-thinking, where poetry facilitates various specialist thought practices, alogia andrelated negative psychiatric symptoms feasibly reflect thought processes exceeding wordbasedcommunication. Such ‘disordered’ thinking may thus be recognised as activating whatKeats termed negative capability: poetic reaching through uncertainty towards the un/thinkable(the not-yet-thought, but thinkable). My article supports this argument through analysis of myown and other writers’ visual poems. Refereed/Peer-reviewed

En este artículo se analizan técnicas compositivas en la escritura visual de Roberto Farona, Cuca Canals, y J. M. Calleja que revelan una subjetividad posmoderna. Para ello se explora el concepto de subjetividad y objetividad en la obra de arte desde una perspectiva sartriana y se analiza el contexto tecnocultural en el que se produce la poesía visual actual, donde las tecnologías digitales muestran un mundo fragmentado y múltiple que se resiste a ser interpretado teleológicamente y ofrecen la ilusión de ausencia de autoría y total objetividad. This article analyzes compositional techniques in the visual poetry of Roberto Farona, Cuca Canals, and J. M. Calleja that reveal a postmodern subjectivity. For this purpose, we explore the concept of subjectivity and objectivity in the work of art from a Sartrean perspective. We also analyse the techno cultural context in which contemporary visual poetry is produced, where digital technologies to display a fragmented world that resists teleological interpretation and creates the illusion of total objectivity and lack of authorship.

В статье рассматривается проблема соотношения стихотворного текста и видеоряда в современной видеопоэзии. The article deals with the problem of correlation between the poetic text and the video footage in modern video poetry.

Madoz’s gaze, turned towards a hidden reality, to what is merely glimpsed, the invisible of the visible, holds the ability of meddling in what surrounds us, establishing analogic correspondences between things. It confronts the viewer with its automatisms and routines, shaking both the mechanisation of the gaze and the thought. This essay is focused on the operating mechanisms of Madoz’s photography, a polyhedral work that demands an interdisciplinary study. Widening the methodological focus and approaching his work through interartistic studies is therefore necessary. To this end, this essay analyses madozian images and their mechanisms through a theoretical framework comprising of ostranenie or Viktor Shklovsky’s strangeness and Russian formalism, Brecht’s distancing, Benjamin’s theories of interruption or shock, as well as Burger’s systemisation of inorganic works of art. This framework should lead to an understanding of how Madoz’s photography is composed and how it operates, as well as revealing the deautomising potential of his images. La mirada de Madoz, vuelta hacia una realidad escondida, hacia aquello meramente entrevisto, lo invisible de lo visible, detenta la capacidad de hurgar en lo que nos envuelve, estableciendo correspondencias analógicas entre las cosas. Confronta al receptor con sus automatismos y rutinas, haciendo tambalear la mecanización tanto de la mirada como del pensamiento. Este trabajo se centra en los mecanismos de funcionamiento de la fotografía de Madoz, obra poliédrica que urge una mirada interdisciplinar. Se hace inevitable abrir el foco metodológico y abordar la obra de Madoz desde los estudios comparativos interartísticos, por lo que se analiza la imagen madoziana a partir de un armazón teórico conformado por el recurso de la ostranenie o extrañamiento de Viktor Shklovski y el formalismo ruso, el distanciamiento de Bertolt Brecht, la interrupción y el shock teorizados por Walter Benjamin, así como la inorganicidad de la obra de arte sistematizada por Peter Bürger. Este armazón teórico ha de permitir comprender la manera en que se compone y opera la fotografía de Madoz, así como donde radica la potencia desautomatizadora de la imagen madoziana.

Submitted by António Freitas (amsf@uma.pt) on 2022-02-02T08:57:22Z No. of bitstreams: 1 Teresa Jardim a diversidade.pdf: 1656006 bytes, checksum: 006b520442cd376395059a24d1d72192 (MD5) Made available in DSpace on 2022-02-02T08:57:23Z (GMT). No. of bitstreams: 1 Teresa Jardim a diversidade.pdf: 1656006 bytes, checksum: 006b520442cd376395059a24d1d72192 (MD5) Previous issue date: 2021 info:eu-repo/semantics/publishedVersion

[r]Existo! is the result from a photography work of Coletivo Madeirista, during the largest flooding of the last hundred years in 2014 at Madeira River, in which have been recorded the advance of the waters followed by the populations resumptions to their own homes. In 2015, we watched the flood return not with the same intensity but emerging similar issues, and that’s the reason why [r]Existo! is so important. Based in Porto Velho, The Coletivo Madeirista/ Madeirista Collective, is a group of artists and thinkers that since 2001 have been together to produce and discuss contemporary art, literature and poetry. Their publications, net.art, visual poetry, performances, urban interventions and video art reflects about the status of art in contemporary society.

Figures des avant-gardes et inventeurs du « spatialisme » au début des années soixante, Ilse Garnier (1927-2020) et Pierre Garnier (1928-2014) sont surtout connus pour leurs créations dans le domaine de la poésie visuelle et de la poésie sonore. Leurs œuvres investissent une grande variété de supports (papier, bande magnétique, pellicule photographique), de formats (depuis des objets tenant dans la main à d’autres mesurant un mètre de côté) et de dispositifs (feuilles séparées, livres reliés, projection de diapositives, installations éphémères). Cette diversité se comprend par rapport aux principes même de leur poésie, où l’espace joue un rôle central. L’article montre comment dans leurs œuvres visuelles les poètes ont joué avec les supports et déjoué les codes, n’hésitant pas chaque fois que possible à faire sortir le poème de la page, à renouveler les formes du livre, et à faire circuler leurs créations d’un support à un autre. Prominent representatives of the avant-gardes and inventors of “spatialism” in the early sixties, Ilse Garnier (1927-2020) and Pierre Garnier (1928-2014) are best known for their creations in the field of visual poetry and sound poetry. Their works use a large variety of media (paper, tape, photographic film), formats (from objects that can be held in the hand to others measuring a meter across) and objects (separate sheets, bound books, slides, ephemeral installations). This diversity is linked to the very principles of their poetry, where space plays a central role. The article examines how in their visual works the poets played with supports and thwarted codes, not hesitating whenever possible to let the poem expand out of the page, to renew the forms of the book, and to circulate their creations from one medium to another.

[ES] En este Trabajo Fin de Grado se desarrolla un conjunto de obras en las que se exploran los puentes creados entre texto e imagen dentro del ámbito de las Artes Visuales. Mediante la relación entre escritura y dibujo, se propone un proceso creativo propio que, a través de la reproducción gráfica y la hibridación de medios, permita indagar la pluralidad de sentidos que definen la poesía pintada y el dibujo-palabra., [EN] In this TFG I develop a series of works where I explore the bridges created between text and image inside of the Visual Arts field. Through the relationship between calligraphy and drawing, a personal creative process is proposed - one that, open to the pictorial space and through medium hybridation, allows to investigate the plurality of meanings that define painted poetry and word-drawing.

This article aims at describing Pierre Garnier’s itinerary from traditional, linear poetry, to concrete, visual poetry. Born as a reaction to the mainstream political-oriented poetry campaigned by Aragon, French concrete poetry is characterised by the use of language as “matter”, namely by the aim to destroy the linear syntax of discursive communication. Thus, poetry can become fully “universal”, no longer needing any form of translation. Garnier experiments during the Sixties and the Seventies include juxtapositions of letters (Poèmes mécaniques) and the combination of ideograms and Latin alphabet (Poèmes franco-japonais). The radicalisation of these attempts is a form of poetry which is very close to silence, almost devoid of linguistic signs and thus very close to pictorial art., LEA - Lingue e Letterature d'Oriente e d'Occidente, Vol. 8 No. 8 (2019)

This essay concerns the works of Giulia Niccolai (an author involved in the Italian Gruppo ’63 movement), and takes into account the relation between poetry and image, materiality of the work and the poetic word.The essay also aims at investigating the dynamics of opposition between the two languages and the role which both play in understanding the ultimate meaning of things.The essay focuses, in particular, on the author’s latest poetic collections in which the importance of “frisbees” as an experimental form of poetry stands out., LEA - Lingue e Letterature d'Oriente e d'Occidente, Vol. 8 No. 8 (2019)

La serie borradores es un conjunto de acciones-intervenciones en las que que se utiliza el borrador como la herramienta de dibujo aplicada sobre muros manchados de smog. Estas acciones-intervenciones son registradas por medio de la fotografía y video. Por un lado, se trata de una reflexión del dibujo como lenguaje en su relación con la arquitectura y el urbanismo como soporte, explorando diversas formas visuales —como la lengua de señas, la poesía visual y la gráfica popular— recurriendo al gesto espontáneo y efímero del graffiti y, por otro, propone activar comentarios críticos con respecto a problemáticas como la crisis ambiental, la libertad de expresión, y la descolonización en la actual configuración de imaginarios urbanos.

This essay will explore the complex relationship between Pacific Islander Literature and the &ldquo, Blue Humanities,&rdquo, navigation traditions and canoe aesthetics, and Chamoru migration and diaspora. First, I will chart the history, theory, and praxis of Pacific voyaging traditions, the colonial history of restricting indigenous mobilities, and the decolonial acts of seafaring revitalization in the Pacific (with a specific focus on Guam). Then, I will examine the representation of seafaring and the ocean-going vessel (the canoe) as powerful symbols of Pacific migration and diasporic cultural identity in the context of what Elizabeth DeLoughrey termed, &ldquo, narrative maritime legacies&rdquo, (2007). Lastly, I will conduct a close-reading of the avant-garde poetry collection, A Bell Made of Stones (2013), by Chamoru writer Lehua Taitano. As I will show, Taitano writes about the ocean and navigation in order to address the history and traumas of Chamoru migration and diaspora. In terms of poetic form, I will argue that Taitano&rsquo, s experimentation with typography and visual poetry embodies Chamoru outrigger design aesthetics and navigational techniques. In the end, I will show how a &ldquo, Blue Humanities&rdquo, approach to reading Pacific Islander literature highlights how the &ldquo, New Oceania&rdquo, is a profound space of Pacific migration and diasporic identity.

Artículo acerca de las revistas de arte publicadas en Brasil en elperíodo entre 1952 y 1988, en lo cual se presenta la formación de unared de colaboradores que atraviesa la mayor parte de las publicaciones,con especial énfasis al papel que jugaron las revistas para el surgimientode los libros de artista. El artículo resulta del mapeo inédito de lasrevistas hecho con el propósito de organizar una exhibición dedicadaa lo tema. Ese tipo de producción, ignorado por grande parte de lahistoriografía brasileña, hasta en estudios sobre los libros de artistas,es central para comprender el fenómeno actual de las publicacionesde artistas. Artigo a respeito das revistas de artista publicadas no Brasil noperíodo de 1952 a 1988, no qual se mostra a formação de uma rede decolaboradores que perpassa a maioria das publicações, com destaqueao papel que tiveram as revistas para o surgimento dos livros de artista.O artigo é resultado de um mapeamento inédito das revistas, realizadocom o objetivo de montar uma exposição dedicada ao tema. Essetipo de produção, ignorado por boa parte da historiografia brasileira,até mesmo em estudos sobre os livros de artista, é fundamental paraentender o fenômeno atual das publicações de artista. Article about artist’s magazines published in Brazil from 1952to 1988, showing the formation of a network of collaborators thatruns through most publications, highlighting the role that magazineshad for the emergence of artist’s books. The article is the result of anunpublished mapping carried out with the objective of organizing anexhibition dedicated to the theme. This type of production, ignoredby much of Brazilian historiography, even in studies on artist’s books,is fundamental to understanding the current phenomenon of artist’spublications.&nbsp

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As mesmas regras servem para o item "abstract". - os itens do trabalho devem constar na seguinte ordem: capa; folha de rosto; ficha catalográfica; folha de aprovação; dedicatória (se houver), agradecimentos (se houver, incluindo financiamento da capes); epígrafe (se houver); resumo; resumo em língua estrangeira; lista de ilustrações; lista de tabelas; lista de abreviaturas (se houverem); sumário; itens textuais (introdução e capítulos); referências; anexos (se houver). Na submissão enviada, não consta folha de rosto, resumo, abstract, sumário, referências e o item agradecimentosestá fora da ordem. Caso seja necessário, consulte as normas em: https://www.ia.unesp.br/#!/sobre-o-campus/biblioteca/acervos/normas-tecnicas/ Caso haja dúvidas, consulte a biblioteca. 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As mesmas regras servem para o item "abstract". - os itens do trabalho devem constar na seguinte ordem: capa; folha de rosto; ficha catalográfica; folha de aprovação; dedicatória (se houver), agradecimentos (se houver, incluindo financiamento da capes); epígrafe (se houver); resumo; resumo em língua estrangeira; lista de ilustrações; lista de tabelas; lista de abreviaturas (se houverem); sumário; itens textuais (introdução e capítulos); referências; anexos (se houver). Na submissão enviada, não consta folha de rosto, resumo, abstract, sumário, referências e o item agradecimentosestá fora da ordem. Caso seja necessário, consulte as normas em: https://www.ia.unesp.br/#!/sobre-o-campus/biblioteca/acervos/normas-tecnicas/ Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2020-04-24T17:17:20Z (GMT) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-04-20T19:45:14Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final.pdf: 12007066 bytes, checksum: e35108a56a733a4113081e61ff2bb20f (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - o item “folha de rosto” nos itens pré-textuais é obrigatório segundo as normas da ABNT, portanto deve constar no arquivo anexo. - o item "resumo" deve ser apresentado em parágrafo e folha única, e é obrigatório. As mesmas regras servem para o item "abstract". - os itens do trabalho devem constar na seguinte ordem: capa; folha de rosto; ficha catalográfica; folha de aprovação; dedicatória (se houver), agradecimentos (se houver, incluindo financiamento da capes); epígrafe (se houver); resumo; resumo em língua estrangeira; lista de ilustrações; lista de tabelas; lista de abreviaturas (se houverem); sumário; itens textuais (introdução e capítulos); referências; anexos (se houver). Na submissão enviada, não consta folha de rosto, resumo, abstract, sumário, referências e o item agradecimentosestá fora da ordem. Caso seja necessário, consulte as normas em: https://www.ia.unesp.br/#!/sobre-o-campus/biblioteca/acervos/normas-tecnicas/ Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2020-04-24T17:17:20Z (GMT) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - o item “folha de rosto” nos itens pré-textuais é obrigatório segundo as normas da ABNT, portanto deve constar no arquivo anexo. - o item "resumo" deve ser apresentado em parágrafo e folha única, e é obrigatório. As mesmas regras servem para o item "abstract". - os itens do trabalho devem constar na seguinte ordem: capa; folha de rosto; ficha catalográfica; folha de aprovação; dedicatória (se houver), agradecimentos (se houver, incluindo financiamento da capes); epígrafe (se houver); resumo; resumo em língua estrangeira; lista de ilustrações; lista de tabelas; lista de abreviaturas (se houverem); sumário; itens textuais (introdução e capítulos); referências; anexos (se houver). Na submissão enviada, não consta folha de rosto, resumo, abstract, sumário, referências e o item agradecimentosestá fora da ordem. Caso seja necessário, consulte as normas em: https://www.ia.unesp.br/#!/sobre-o-campus/biblioteca/acervos/normas-tecnicas/ Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2020-04-24T17:17:20Z (GMT) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-04-20T19:45:14Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final.pdf: 12007066 bytes, checksum: e35108a56a733a4113081e61ff2bb20f (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - o item “folha de rosto” nos itens pré-textuais é obrigatório segundo as normas da ABNT, portanto deve constar no arquivo anexo. - o item "resumo" deve ser apresentado em parágrafo e folha única, e é obrigatório. As mesmas regras servem para o item "abstract". - os itens do trabalho devem constar na seguinte ordem: capa; folha de rosto; ficha catalográfica; folha de aprovação; dedicatória (se houver), agradecimentos (se houver, incluindo financiamento da capes); epígrafe (se houver); resumo; resumo em língua estrangeira; lista de ilustrações; lista de tabelas; lista de abreviaturas (se houverem); sumário; itens textuais (introdução e capítulos); referências; anexos (se houver). Na submissão enviada, não consta folha de rosto, resumo, abstract, sumário, referências e o item agradecimentosestá fora da ordem. Caso seja necessário, consulte as normas em: https://www.ia.unesp.br/#!/sobre-o-campus/biblioteca/acervos/normas-tecnicas/ Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2020-04-24T17:17:20Z (GMT) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Submitted by Maurício Pinto Adinolfi (mauricioadinolfi@gmail.com) on 2020-05-05T14:54:54Z No. of bitstreams: 1 Homem_Inundado_Mauricio_Adinolfi-final 1.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). 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No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2020-05-06T18:06:33Z (GMT) No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Made available in DSpace on 2020-05-06T18:06:33Z (GMT). No. of bitstreams: 1 Adinolfi_mp_dr_ia.pdf: 12170317 bytes, checksum: 26be02e55d8d18316c0a1359483bda78 (MD5) Previous issue date: 2020-03-13 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Homem Inundado apresenta-se como objeto artístico, um livro em fluxo narrativo contínuo relacionado aos processos e procedimentos que abarcam os últimos cinco anos dedicados à pesquisa e produção de instalações, site specifics e pinturas. Tais práticas estão voltadas à investigação de questões estruturais e matéricas associadas à experiência com a construção naval e com comunidades litorâneas em diversas partes do Brasil, Portugal e França e abordam situações críticas decorrente das transformações sociais e exploração regional. Sua estrutura está baseada na diagramação e espaçamento entre texto, caracteres e imagens, interferindo no movimento de leitura e afirmando a linguagem como construtora de sentido - enquanto signo, letra e palavra - buscando na experiência estética um questionamento existencial. O texto se caracteriza como uma prática de fragmentação, de uma multiplicidade dos grupos composicionais, junto a certa assimetria de ritmo, tendo por fio condutor um corpo que se inunda. Esses grupos se desenvolvem de forma ensaística, concomitante à influência da montagem dramatúrgica, com prólogo, atos e epílogo. As imagens variam de tamanho e espacialização, e os blocos de texto afirmam uma fisicalidade do verbo outorgando ao livro uma corporeidade objetual. Programa de Doutorado Sanduíche no Exterior -88881.190189/2018-01

Introduction to the catalogue of the exhibition "La parola nell'arte" (Mart, Rovereto, 2007).

Актуальность заявленной в статье проблемы обусловлена тем, что русская поэзия одновременно с развитием технических средств становится полем для поиска новых визуально‑гра­фических приемов. Выразительные возможности уже сложившейся системы поэтических знаков перестают отвечать запросам современных авторов, поэтому они начинают поиски новых инструментов организации поэтического текста, способного подчеркнуть не передаваемые на слух смысловые оттенки. Один из таких авторов, расширивших визуальные возможности поэтического текста, – Е. А. Мна­цаканова. Цель статьи – исследовать визуально‑графические приемы в книге стихотворений Е. А. Мнацакановой «Новая Аркадия», раскрыть их роль и специфику. В процессе работы был использован структурно‑описательный метод в целях последовательного описания, обобщения и систематизации информации с опорой на структуру выбранных для анализа объектов, а также аналитический, контекстуальный и биографический метод, так как визуально‑графические приемы, применяемые Е. Мнацакановой, отчасти обусловлены биографией поэтессы. Выявлены ключевые визуально‑графические приемы текста книги «Новая Аркадия» и их функции. Приемы расположения текста на плоскости страницы, такие как «членение текста на несколько вертикальных потоков», отступы, пробелы, голофрастические конструкции, выполняют две основные функции: многовекторного восприятия текста и партитурно‑интонационную; приемы шрифтовой акциденции – смыслообразующую, партитурно‑интонационную, функцию акциденции магического значения слова; интеграция вербального и иконического компонентов – функцию создания параллельного текста, диалогизирующего с первоначальным. При этом все визуально‑графические приемы, используемые Мнацакановой, соотносятся с концепцией творчества Мнацакановой – описанием мировой гармонии. Результаты исследования могут применяться в теоретических исследованиях, посвященных современной русской визуальной поэзии, а также могут быть использованы в курсе современной русской литературы., The relevance of the problem stated in the article is due to the fact that Russian poetry simultaneously with the development of technical means becomes a field for searching for new visual and graphic techniques. The expressive possibilities of the already established system of poetic signs no longer meet the needs of modern authors, so they begin to search for new tools for organizing a poetic text that can emphasize semantic shades that are not transmitted by ear. One of these authors, who expanded the visual possibilities of the poetic text, is E. A. Mnatsakanova. The purpose of the article is to investigate visual and graphic techniques in the book of poems by E. A. Mnatsakanova "New Arcadia", to reveal their role and specifics. In the course of the work, the structural-descriptive method was used in order to consistently describe, generalize and systematize information based on the structure of the objects selected for analysis, as well as the analytical, contextual and biographical method, since the visual and graphic techniques used by E. Mnatsakanova are partly due to the biography of the poetess. The key visual and graphic techniques of the text of the book "New Arcadia" and their functions are revealed. Techniques for placing text on the page plane, such as "dividing the text into several vertical streams", indents, spaces, holofrastic constructions, perform two main functions: multi-vector perception of the text and score – intonation; techniques of font accident-meaning – forming, score-intonation, the function of accident of the magical meaning of the word; integration of verbal and iconic components-the function of creating a parallel text, dialogizing with the original. At the same time, all the visual and graphic techniques used by Mnatsakanova correspond to the concept of Mnatsakanova's creativity-the description of world harmony. Research results can be applied in theoretical studies on contemporary Russian visual poetry, and can also be used in the course of modern Russian literature., Вестник гуманитарного образования, Выпуск 4 (20) 2020

Resumen Daniela Serna (Medellín, 1991) investiga y crea sobre el tránsito que se produce entre el objeto verbal de origen literario y el artefacto visual de carácter plástico y estético. Su obra expande la idea de la literatura formal, donde las dimensiones temporales y sensoriales se experimentan en la imaginación del lector, para proponer poemas visuales en los cuales propicia una experiencia de sentido que amplifica o diluye los límites de lo posible. En esta reseña se abordan un conjunto de obras, cuyo eje central permite múltiples lecturas, tamizadas por una reserva de signos ideológicos, políticos y estéticos en los cuales la artista inscribe su obra, y que permiten interrogar la relación entre el mundo ficcional representado y la representación que el lector/espectador realiza. Abstract Daniela Serna (Medellín, 1991) conducts research and creates works of art on the transition between a literary verbal object and a visual artifact of a plastic and esthetic nature. Her work expands on the idea of formal literature, where the temporal and sensorial dimensions are in the reader’s imagination, to propose visual poems that encourage an experience of meaning that augments or blurs the limits of what is possible. This review deals with a set of works, the core topic of which enables multiple readings, which are carefully selected using a collection of ideological, political, and esthetic signs that the artist brings into her work and that allow us to question the relationship between the represented fictional world and the reader or observer’s representation.

The purpose of this contribution is to propose submorphemic readings of a Spanish visual poem: "Andalucía" by Pablo del Barco. Our approach is situated in the Enaction paradigm, which postulates that the emergence of cognition and language is a process. However, submorphemic processes offer de facto new readings of the visual poem which we propose to analyze. This will allow us to approach poetry as it emerges by and for the reader himself as (re)constructed by him. Visual poetry is also intended to be a privileged field of study insofar as the assumptions of the linearity of language and the arbitrariness of the sign are more than ever called into question, and this freedom taken by the poet becomes that of the reader (re)constructor of meaning., L’objet de cette contribution est de proposer des lectures submorphémiques d’un poème visuel espagnol : « Andalucía » de Pablo del Barco. Notre approche se situe dans le paradigme de l’énaction qui postule que l’émergence de la cognition et du langage est un processus. Or, les processus submorphémiques offrent de facto de nouvelles lectures du poème visuel dont nous nous proposons l’analyse. Cela nous permettra d’aborder la poésie telle qu’elle émerge par et pour le lecteur lui-même en tant que (re)construite par lui. La poésie visuelle se veut du reste un champ d’étude privilégié dans la mesure où les postulats de la linéarité du langage et de l’arbitraire du signe sont plus que jamais remis en cause, et cette liberté prise par le poète devient celle du lecteur (re)constructeur du sens.

The purpose of this contribution is to propose submorphemic readings of a Spanish visual poem: "Andalucía" by Pablo del Barco. Our approach is situated in the Enaction paradigm, which postulates that the emergence of cognition and language is a process. However, submorphemic processes offer de facto new readings of the visual poem which we propose to analyze. This will allow us to approach poetry as it emerges by and for the reader himself as (re)constructed by him. Visual poetry is also intended to be a privileged field of study insofar as the assumptions of the linearity of language and the arbitrariness of the sign are more than ever called into question, and this freedom taken by the poet becomes that of the reader (re)constructor of meaning., L’objet de cette contribution est de proposer des lectures submorphémiques d’un poème visuel espagnol : « Andalucía » de Pablo del Barco. Notre approche se situe dans le paradigme de l’énaction qui postule que l’émergence de la cognition et du langage est un processus. Or, les processus submorphémiques offrent de facto de nouvelles lectures du poème visuel dont nous nous proposons l’analyse. Cela nous permettra d’aborder la poésie telle qu’elle émerge par et pour le lecteur lui-même en tant que (re)construite par lui. La poésie visuelle se veut du reste un champ d’étude privilégié dans la mesure où les postulats de la linéarité du langage et de l’arbitraire du signe sont plus que jamais remis en cause, et cette liberté prise par le poète devient celle du lecteur (re)constructeur du sens.