Os poemobjetos de Roberta Camila Salgado: criação e materialidade

This article aims to analyze the poetic production of Roberta Camila Salgado. Between 1964-1965 she created the poemobjetos [poemobjects], that would become part of Tropicália, an environmental installation created by Hélio Oiticica in 1967 and launched in the seminal exhibition “Nova Objetividade Brasileira”. Camila Salgado’s poetic writing uses materials such as roofing ceramics, brick blocks, Styrofoam and wooden boards. It appropriates the unusual aspect of those industrialized materials and makes them intrinsic to the poem. In this sense, the poemobjeto presents itself directly connected to the environment. Poetry becomes a sort of materiality that does not intend to control the attention of the observer/reader, who experiences it as an unexpected discovery. In short, this article intends to examine how Roberta Camila Salgado’s poemobjetos and their materiality situate themselves within the Brazilian poetic milieu

Haroldo de Campos: um caso concreto-barroco

This research aims to analyze the poetic writing of Haroldo de Campos, which brings a baroque language closer to a concrete language, exemplifying this supposed paradox through the poem A Máquina do Mundo Repensada. Augusto de Campos, his brother, defined him as a kind of “concrete-baroque”, capable of bringing together these two apparently contradictory facets in his production. The defense of the inclusion of the Brazilian baroque in the formation of national literature made by Haroldo also reverberated in his work, leaving baroque traces in his writings, as will be shown below. Finally, the analyzes made in this article will lead us to an analog and iconic reading gesture, prioritizing the similarities brought by the analogies, which will allow us to conceive the existence of opposite paths shared in the same text.

Murilo Mendes, a disciplina do indisciplinado

With the rebelliousness characteristic of his self-description as an “experimental youth,” Murilo Mendes creates a critical distance between his poetic consciousness and his liberty of action. With the term, he retrospectively characterizes his entire literary production, from the poetry of the 1930s to the 1960s and 70s. To be indisciplined is to challenge norms and introduce thematic and graphic innovations, such as linguistic play, kitsch, graffiti, miniaturization and new tendencies of visual arts and electronic communications. Murilo is always attentive to the independence of the word and the musicality of poetry. Indiscipline is his self-described source of expression and method, thus a discipline in reverse that motives his poetic imagination

Cesariny de pé e com os braços muito abertos: o poeta em expansão

Mário Cesariny was frequently asked by critics and interviewers to define himself: did he see himself as a poet or a painter? Replying that there is no difference between those denominations, the artist presents poetry as something that is capable of exceeding the limits of the production of any object. In this article, we will observe some of the most recent studies that have approached the relationship between image and poetry in Cesariny’s work. We will then analyze some of his creations that suggest a reevaluation of the figure of the poet by presenting a wide variety of “makings” that imply a de-specification of the artistic object, and, consequently, of the poem

"Galáxias", de Haroldo de Campos, é um livro de artista?

In the fifty text fragments that compose Galáxias, by Haroldo de Campos, the dominance of the cogito is constantly broken. In this way, the reader’s attention, generally inclined to turn only to the semantic layer of the text, to look for what the text means, is led to perceive there also the pulse of a living materiality. If the word is not just a vehicle for the message, the body of the book is not merely a support for the texts, but an important element for the production of meaning. With a strange graphic design, could Haroldo’s work be considered an artist’s book? This is what this article investigates.

Do verso ao vão: aspectos da negação em “O rei menos o reino” e “Não”, de Augusto de Campos

Augusto de Campos is one of the most long-lived voices in Brazilian literature. In more than seventy years of poetic activity he produced books, objects, mobiles, holograms and sculptures. Since the early 1950s, Augusto has pursued a kind of negacion of the poetic, which we understand as propositional. The “no” in Campos can be seen as the backbone that brings together his work. Thus, we propose the reading of two poems by the author, “O rei menos o reino” and the photocopy book “Não” in order to understand how the negativity unfolds from the verse to its material reality.

Visualidade e inventividade na obra de Ana Hatherly

The article intends to discuss the visuality in the work of Ana Hatherly through plagiotropia, both in poetic and essayistic texts. It is an essencial experimental procedure for her revisitation to Portuguese baroque of the 17th and 18th centuries

"Vida Toda Linguagem" de Mário Faustino: um soneto (quase) soneto

This article discusses the formal elements (meter, a rhyme scheme, line breaks) of two different poems published, posthumously, in 1966 by the Brazilian poet Mário Faustino. The first, “Soneto”, presents a quite different design from the conventional graphic disposition of verses on the printed page. However, once visually rearranged according to the line breaks of a traditional sonnet, “Soneto” follows exactly its predetermined metric system. The second poem also expands this idea. Despite of seeming to be composed in free verse, “Vida toda linguagem” puts into practice several long-established metric variations.