Manuscrítica: Revista de Crítica Genética
Manuscrítica - Revista de Crítica Genética (ISSN 2596-2477) is a publication of the Association of Researchers in Genetic Criticism (APCG) and the Graduate Program in Foreign Languages and Translation (PPG LETRA, in the Brazilian acronym) at the University of São Paulo (USP). The journal is certified by the Digital Library and Collections Agency (ABCD-USP). Since 1990, it has been publishing texts that dialogue with genetic criticism, a discipline that studies the processes of creation in various areas, such as literature, the visual arts, theater and cinema, among others.
Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas
Copyright (c) 2026 Aline Novais de Almeida https://creativecommons.org/licenses/by/4.0
Copyright (c) 2026 Patrício Nunes Barreiros https://creativecommons.org/licenses/by/4.0
Arquivo Expandido – conexões e processos de criação – Volume final
Editorial do dossiê 58 da revista Manuscrítica. Este volume completa a série de publicações decorrentes do 16º Congresso Internacional da APCG – Arquivo Expandido: conexões e processos de criação.
Copyright (c) 2026 Aline Novais de Almeida, Katerina Blasques Kaspar https://creativecommons.org/licenses/by/4.0
Ethnography or Fiction? Textual Mediation and Fluidity in Cuentos negros by Lydia Cabrera
This article examines Lydia Cabrera’s Cuentos Negros de Cuba through the lens of genetic criticism, challenging the reductionist view that has classified her work as ethnographic literature. By comparing the French and Cuban editions (1936, 1940, 1972) and analyzing manuscripts preserved at the Cuban Heritage Collection (University of Miami), the study shows how editorial and critical mediations shaped Cabrera’s reception as a “folklorist” rather than as a literary author. A case study of “La diabla de las mil bocas” reconstructs Cabrera’s creative process, highlighting revisions, deletions, and variants that reveal the interplay between lived experience and artistic calculation. The analysis underscores the political and gendered dimensions of rewriting, as well as the tension between oral traditions, imagination, and literary form. Far from being simple transcriptions of Afro-Cuban folklore, Cabrera’s manuscripts reveal a literary project where ethnographic and artistic modes coexist, anticipating the aesthetics of magical realism in Cuba.
Carta de Philippe Willemart em homenagem a Louis Hay.
Copyright (c) 2025 Philippe Willemart https://creativecommons.org/licenses/by/4.0
Visualidades: Arquivo Expandido – conexões e processos de criação
O número 57 da revista Manuscrítica é dedicado ao 16º Congresso Internacional da Associação de Pesquisadores em Crítica Genética (APCG), realizado na Universidade de São Paulo (USP), em novembro de 2024, sob o tema “Arquivo Expandido: conexões e processos de criação”.
Copyright (c) 2025 Patricia Kiss Spineli, Edson do Prado Pfützenreuter https://creativecommons.org/licenses/by/4.0
Arquivo Expandido – conexões e processos de criação
Editorial, n. 56: “Arquivo Expandido – conexões e processos de criação”
Copyright (c) 2025 Giovani T. Kurz https://creativecommons.org/licenses/by/4.0
Photogrammetry as an artistic medium: recording movement in image capture failures
This article explores the use of photogrammetry as an artistic technique, transforming its original function—creating precise digital replicas of the real world—into a means of subjective expression. By introducing intentional flaws during image capture or processing, distortions and glitches are generated that add aesthetic value, converting the technique into an authorial visual language. The central approach investigates how three-dimensionalization methodologies can be distorted in the creative process, producing records that document not only reality, but also the artist's interpretation. As in painting or photography, photogrammetry, initially a documentation technique, begins to reflect individual experiences, balancing technical rigor and creative freedom. Based on Cascone, Heijer and Puspita et al., we propose a study on the limits and possibilities of photogrammetry in art, expanding its applicability and establishing a dialogue between precision and expression. Natural aberrations become aesthetic resources, redefining the technique as an artistic medium.
Copyright (c) 2025 Beatriz Righetti Ferreira, Joedy Luciana Barros Marins Bamonte https://creativecommons.org/licenses/by/4.0
Memory and projection in the extensions of making: the Maria Ivone dos Santos Archive
Artists leave traces of their research, creating collections that contain potential sources of research on the poetics of a creator and on art. However, many of these collections are not institutionalized, so the artists themselves sometimes seek ways to preserve their memory. Taking the Maria Ivone dos Santos Archive as a case study, this article analyzes how collection management procedures applied to a non-institutionalized artist archive, open and in use, contribute to the constitution of a memory of art. The analysis aims to contribute to the reflection on artists' collections and the strategies developed for their preservation. The research is qualitative and applied in nature, developed through a case study and bibliographic review with theoretical support from Bellotto (2006), Cândido (2006), Cirillo (2019), Foster (2004), Ladkin (2004) and Padilha (2014). The study concludes that, in addition to a strategy for constructing a personal memory, the archive under analysis promotes the preservation of the memory of art, configuring itself as an exercise in resistance in the face of the lack of public policies aimed at valuing artists' collections.
Copyright (c) 2025 Daiana Schröpel https://creativecommons.org/licenses/by/4.0
Faminta de sua essencialidade: o processo de construção das personagens hilstianas
O presente trabalho parte da investigação dos manuscritos de Hilda Hilst com o enfoque voltado para a perspectiva da construção das personagens. Tais manuscritos encontram-se salvaguardados no Centro de Documentação Alexandre Eulálio (CEDAE), localizado na Universidade Estadual de Campinas (Unicamp). No exame dos seus documentos de processo, verifica-se que existe um mesmo fio condutor que conecta a elaboração de diferentes personagens das suas narrativas: a busca de natureza ontológica ou de uma “essencialidade”. Tendo em vista o recorte em questão, é possível percorrer as linhas errantes da escrita hilstiana, a exemplo das citações diretas de livros, das sistematizações de estudos com o intuito de pesquisa, dos esboços com expressões ou trechos soltos utilizados em narrativas, das anotações acerca da construção das personagens. Em específico, importa assumir um olhar privilegiado a respeito da construção das personagens, sobretudo das que integram a prosa de ficção publicada na década de 80: Tu não te moves de ti (1980) e A obscena Senhora D (1982).
Manuscritos; construção de personagens; essencialidade; Hilda Hilst.
Copyright (c) 2025 Andréa Jamilly Rodrigues Leitão https://creativecommons.org/licenses/by/4.0
This article proposes the hypothesis that the editing and re-editing process of Frauta de barro, by the Amazonian poet Luiz Bacellar (1928–2012), involves an aesthetic procedure that can be understood in the context of archiving possibilities — both material and immaterial — in non-hegemonic settings, characterised by limited safeguarding of cultural memory. The focus is on the relationship between the theme of the imminent or actual disappearance of specific names, objects and places in a changing city, and the textual economy that emerges from the seven versions published during the poet's lifetime. Viewed through this lens, the observed textual mobility and instability appear indicative of the surrounding culture's anarchivic nature, internalised as a regime of meaning production. This article builds upon the reflections on archive and memory of authors such as Jacques Derrida (2001), Diana Taylor (2013), Aleida Assmann (2011), and Reinaldo Marques (2015), to argue that Frauta de barro establishes a poetics of anarchivism extending to the entire Bacellarian oeuvre. The study concludes that the collection of printed texts can serve as a dossier that can support the development of local theories of the archive in the Amazonian context.
Frauta de barro; Luiz Bacellar; Archive; Memory; Anarchivism.
Copyright (c) 2025 João Paulo Cardoso Alves, Allison Leão https://creativecommons.org/licenses/by/4.0
Concept Art in the creative process of Fernand Léger's animation Ballet Mécanique (1924).
Animation is, first and foremost, an often complex artistic language that transcends technical intent. Throughout history, it has often been reduced to an entertainment tool and delegitimized to its artistic point, but its expressive potential reveals something that manipulates time, space and visual matter in a unique way. This article starts from an understanding of animation as an autonomous and rich form of expression, with issues aligned with visual culture that even predates photographic cinema. Through a brief historical and aesthetic approach, it investigates how animation has been consolidated as an artistic language, especially since the modern avant-garde of the 20th century with the experimental use of Cubist artist Fernand Léger with his work ‘Ballet Mécanique’ (1924), which highlights its technical and conceptual specificities and aims to highlight its functionality and fundamentality as a form of sensitive representation, as well as its contribution to contemporary art and visual thinking.
Copyright (c) 2025 Natacha de Souza, David Ruiz Torres https://creativecommons.org/licenses/by/4.0
Returning Writing, the Written Revolt:on Some of Bataille’s Feuillets on Nakedness
This article seeks to contextualise and approximate the date of three unpublished manuscripts catalogued in the Médiathèque of the city of Orléans, France, belonging to the French writer Georges Bataille (1897–1962). These documents are historically situated at the heart of the philosophical and literary debate between Bataille and Jean-Paul Sartre, a debate that marked the 1940s in France and whose effects can still be felt in certain contemporary French productions. The treatment of these manuscripts also points to some interest on the part of their author in writing more about the question of nakedness, whether the nakedness of the human body or that of the body of the text. They are reworkings or sketches of a “response” that the writer obsessively launched at Sartrean thought. Re-elaborations, several of them rearranged, but always left unfinished, following a characteristically Bataillean method, insistently formulated in an “indefinite” — but no less “decisive” — manner, as a response from literature, or more specifically poetry, to the classificatory impulses of philosophy.
Copyright (c) 2026 Sergio Alexandre Novo https://creativecommons.org/licenses/by/4.0
Modesto Carone (Di)Ante (d)a lei: a possible poetics of translation recorded in the translator's archives
This article aims to answer a question regarding the documents in the “Modesto Carone Fund”: is it possible to apprehend a “poetics of translation” from the archives and marginalia left by the most renowned Brazilian translator of Franz Kafka's work? Taking as objects of analysis some records of the translation process of the text “Vor dem Gesetz” – “Before the Law” – found in his archives, I argue that the narrative in question can represent, in a literal way, the translation poetics that Carone established to handle Kafka's work, based on the understanding of the Czech writer's style and the establishment of a translation “law” of fidelity to a bureaucratic, incisive and protocol diction.
Copyright (c) 2025 Everaldo Rodrigues https://creativecommons.org/licenses/by/4.0
Em busca da abstração: Clarice Lispector no arquivo de Leyla Perrone-Moisés
A partir do contato com uma quantidade de documentos excepcional no arquivo privado de Leyla Perrone-Moisés, em torno de estudos sobre a obra de Clarice Lispector, para uma crítica que geralmente não é identificada, pelo menos no Brasil, com este objeto literário, mas reconhecida como grande intérprete e divulgadora da produção literária de língua francesa, propomos explorar tal dossiê genético para identificar quais são suas características. Além disso, pretendemos compreender como, em primeiro lugar, o olhar da ensaísta sobre uma obra literária se constrói a partir da pintura abstrata e, em segundo, como sua linguagem se articula por meio de artifícios próprios desse tipo de expressão artística.
Copyright (c) 2025 Claudia Amigo Pino, Aline Novais de Almeida https://creativecommons.org/licenses/by/4.0
A. D. Tavares Bastos, corresponsal de Murilo Miranda
A. D. Tavares Bastos contribuiu, significativamente, para a divulgação da literatura brasileira na Europa, seja traduzindo obras de escritores brasileiros, seja intermediando a publicação dessas obras com editoras e periódicos franceses. Em sua correspondência a Murilo Miranda, diretor da Revista Acadêmica (1933-1948), Tavares Bastos envia notícias da atmosfera de renascimento de Paris, após a libertação do jugo nazista, e a retomada de projetos culturais na cidade, muitos dos quais o escritor participou. Nas cartas, registra-se, também, sua função de corresponsal da Revista Acadêmica em Paris, solicitando contribuições dos autores franceses ou artistas radicados na França para o periódico carioca, cuja admiração pela literatura e cultura francesas é reafirmada, em 1946, em um número comemorativo sobre o país. É possível, ainda, acompanhar a circulação das próprias obras de Tavares Bastos e de outros autores daqui, numa tentativa de consolidar as parcerias culturais Brasil-França. Partindo de estudos sobre a Revista Acadêmica e a trajetória de Tavares Bastos, como os de Ribeiro (1989) e Amorim (s.d.), espera-se, através da leitura da correspondência de Tavares a Murilo e do mapeamento das contribuições do escritor para a Revista Acadêmica, reafirmar, assim, a sua importância na difusão da literatura brasileira.
Copyright (c) 2025 Mônica Gomes da Silva https://creativecommons.org/licenses/by/4.0
Decifra-me, disse eu à esfinge. E esta ficou muda: Pose e artifício na correspondência de Clarice Lispector
Este artigo propõe investigar como a correspondência de Clarice Lispector contribui como um espaço de construção e complexificação das imagens públicas da escritora, frequentemente, marcadas por leituras biografistas e mitificadas. Nesta complexa elaboração de imagens realizadas por diversas vozes – críticos, amigos, leitores –, as cartas de Clarice Lispector acrescentam um conjunto de diálogos que visam, não apenas um registro transparente do cotidiano e da intimidade, mas como um espaço aberto à performance e a elaboração estética. O objetivo deste artigo, portanto, é estudar o processo de construção das imagens de Clarice Lispector, buscando compreender o lugar que sua correspondência ocupa nele. Para esta análise destacaremos os conceitos de “persona” e “pose” (política da pose) (LIMA, 1986 e 1991; MOLLOY, 2022), bem como a ideia de “sensibilidade Camp” (SONTAG, 2020). A partir dessas referências, foi possível observar como as cartas participam desse diálogo, constituindo-se não como uma escrita transparente e referencial, mas como um espaço de elaboração de autoimagens complexas da autora, nas quais a ficção e o tratamento poético da linguagem também estão presentes.
Copyright (c) 2025 Raynara Barbosa Voltan https://creativecommons.org/licenses/by/4.0
Guiding Notes for the Edition of Eulálio Motta’s Draft Letters
In this article, we present the results of a research project aimed at surveying testimonial sources and formulating editorial guidelines for the edition of draft letters written by the Bahian author Eulálio de Miranda Motta, based on the analysis of his personal archive. A total of 161 draft letters were identified; as a case in point, we highlight the edition and genetic dossier of a letter addressed to the Attorney General of the Republic, Carlos Medeiros Silva, dated 1960. The document addresses the controversy surrounding the emancipation of the municipality of Piritiba-BA, a central theme of the Monitor notebook. The philological reading of this dossier allows for a deeper understanding of the challenges involved in editing Motta’s epistolary drafts and for outlining editorial guidelines specific to this kind of text. The research is grounded in a pragmatic editorial practice, informed by the sociology of texts (McKenzie, 2005) and by genetic and historical textual criticism (Borges, 2018; Santiago, 2021; Barreiros, 2016), taking into account the processes of production, circulation, and appropriation of texts as complex cultural artifacts. The discussion also draws upon studies on Eulálio Motta and the editorial work on his oeuvre (Barreiros, 2019; 2016; 2012). The findings point to an authorial editorial practice, in the sense proposed by Gumbrecht (2021), which conceives the editor as a reader-author attentive to the singularities of the text.
The essay “Note-making as match-striking” examines the role of note-taking in the formative process of writers. It addresses key aspects such as the motivation behind this practice, its functions, and its operative dynamics. Furthermore, it considers the relationship between writing and its material supports, particularly through the practices of figures such as Ana Cristina Cesar, Emily Dickinson, Leonilson, and Walt Whitman. Rather than serving as a means of objectively documenting events, notes are understood as fragmentary records that form part of the creative process, functioning as expressions of identity, modes of self-revelation, and mechanisms for preserving traces and assembling an artistic repository in response to impermanence and forgetting. Written in a reflective and essayistic style, the text also includes Creative Writing exercises that emphasize the practice of maintaining a writer’s notebook.
notes; notebook; process; manuscript; Creative Writing.
Copyright (c) 2025 Moema Vilela Pereira https://creativecommons.org/licenses/by/4.0
Network dance: creative procedure as a complex system of language and(in) education
With the aim of highlighting the complexity in the creative process of a video choreography, the article entitled Networked dance: the creative procedure as a complex system of language and(in) education is built on the analysis of the relationships between the body and technological mediations of communication. By considering the audiovisual work and its multidimensional nature, the text references the pedagogical processes involved in/for artistic creation by basing itself on the understanding of the subject-environment interrelationship and dialoguing with the assumptions of the epistemology of complexity postulated by Edgar Morin. The methodology, based on Process Criticism as proposed by Cecilia de Almeida Salles, analyzes the creative procedure through the examination of drafts, photographs, notebooks and diaries, as well as complex relationships that permeate the elements of the creative process. The artistic work analyzed points to a transdisciplinary approach, whose path extends from word to gesture, from body to video, from presence to transmission, recording and editing, and from the voice lent to bodie, through the sharing of individualities. From the video choreography, constructed with videographic technological mediation, complex relationships emerge between bodies, languages – ​​and interactive movements – that highlight the emergence of educational implications of/in the artistic compositional method.
Copyright (c) 2025 Helen Cristiane de Aguiar https://creativecommons.org/licenses/by/4.0
Palimpsesto montelliano: da concepção à preparação ficcional nos Diários de Josué Montello
O presente artigo tem como objetivo basilar investigar a relação intrínseca entre os Diários e o processo criativo do romancista Josué Montello demonstrando que tal gênero não se refere apenas de um mero repositório para depósitos de registro pessoais de somenos importância, mas sim uma fonte inesgotável de riqueza literária que dialoga com seu processo criativo e criações literárias, permitindo um entendimento mais profundo das motivações e dos métodos do autor. Paralelamente, a breve pesquisa sugere, também, que ao fazermos uso da Crítica Genética como abordagem metodológica, os Diários proporcionam uma nova perspectiva sobre a obra de Montello, contribuindo para evidenciar aspectos como a intertextualidade e a construção de identidade literária bem como a valorização de seus ensinamentos como “artífice da palavra” e sua contribuição para a literatura em geral. Por fim demonstrar-se-á como os escritos diarísticos do autor funcionam como um “palimpsesto”, revelando elementos íntimos da sua construção ficcional bem como as constantes revisões, reescritas, supressões e acréscimos que perpassam toda a sua obra como romancista.
Copyright (c) 2025 Saulo Barreto Lima Fernandes, Douglas Rodrigues de Sousa https://creativecommons.org/licenses/by/4.0
Orphan Works: The Outcome of the Unpredictable and the Neutral
Pascal Quignard's long epigraph is worrying for two reasons. First, because it overturns or attenuates some concepts that have long been accepted and rooted in literary theory: the concept of author, the relationship with his work, the defi nition of a work, its birth, its formation, its path. Second, because it reiterates the diffi culty of artifi cial intelligence in creating a work of art. Throughout the article, I examine the repercussions of the concept of "orphan work" in parts of contemporary literature, Romance and poetry, and what differentiates them from Google's Gemini language model.
Copyright (c) 2026 Philippe Leon Marie Willemart https://creativecommons.org/licenses/by/4.0
“What a sacred monster you are”: Murilo Mendes writes to Jorge de Sena (1961-1974)
This essay aims to analyze the fourteen unpublished letters written by Murilo Mendes (1901-1975) to Jorge de Sena (1919-1978), between 1961 and 1974. The letters highlight the creative process of Janelas verdes, Convergência, Ipotesi, especially with regard to his deep relationship with Portuguese culture. The letters thus allow a direct and more detailed contact with some important elements of the author’s poetics during the Italian phase (1957-1975): the affective value of the literary work, and the function performed by poetry as a literay, artistic and ideological critique.
Copyright (c) 2025 Raphael Salomão Khéde Khede https://creativecommons.org/licenses/by/4.0
Using XML/TEI in the Study of Correspondence: Genetic Criticism, Computing, and the Letters of Marcel Proust
This article investigates the convergence between genetic criticism and the digital humanities, focusing on the use of XML/TEI language in the editing and analysis of epistolary archives. It offers an overview of projects dedicated to the digital edition of correspondence, with an emphasis on Francophone corpora, and analyzes the Corr-Proust project—an international consortium devoted to the critical and digital edition of Marcel Proust’s letters. The discussion delves into the uses of XML/TEI encoding, exploring its potential through two specific axes: the encoding of names and the encoding of external references. This approach expands the possibilities for reading and interconnecting data in epistolary archives, fostering new forms of access, analysis, understanding, and circulation of literary material. The article thus presents the behind-the-scenes work of an innovative project, aiming to inform and encourage the use of digital tools in literary research.
Copyright (c) 2025 Yuri Cerqueira dos Anjos https://creativecommons.org/licenses/by/4.0
Nos traços críticos de Leyla Perrone-Moisés
Este artigo investiga os primeiros traços críticos de Leyla Perrone-Moisés a partir da articulação entre sua formação como pintora e o início de sua atuação como crítica literária no “Suplemento Literário” de O Estado de S. Paulo. Ao acompanhar sua transição da pintura à literatura, especialmente por meio de sua crítica sobre escritores do nouveau roman francês, observa-se como os princípios da arte abstrata — assimilados nos anos de formação com Samson Flexor — permanecem como fundamentos de sua sensibilidade crítica. Através da comparação entre suas primeiras resenhas e a posterior elaboração do livro O novo romance francês (1966), o trabalho busca entender como o amadurecimento crítico se dá não como ruptura, mas como reorganização de ideias.
Copyright (c) 2025 Sofia França Souza https://creativecommons.org/licenses/by/4.0
No Limiar Do Livro: Os Paratextos de Misterios Del Plata, de Juana Manso, Nas Versões Autógrafas
Este trabalho apresenta resultados preliminares da análise comparativa de paratextos editoriais da obra bilíngue Misterios del Plata, de Juana Paula Manso, publicada em folhetim nos jornais O Jornal das Senhoras, de 1852, no Rio de Janeiro, e no El Inválido Argentino, de 1867, em Buenos Aires, com o objetivo de verificar as reformulações feitas pela escritora no momento de re/publicação dos seus textos. Embora a obra Misterios del Plata tenha sido publicada em formato de livro na Argentina, de maneira póstuma, optou-se por estudar os paratextos originais, ou seja, os que apareceram sob os cuidados de sua autora nos referidos jornais, por serem autógrafos e, assim, apresentarem marcas presentes/ausentes das condições de produção da própria autora, diferente das demais edições, que têm marcas e acréscimos feitos por seus editores. Apoiando-se no conceito de paratexto de Gérard Genette (2009), de que um texto se apresenta, e se presentifica no mundo, com o reforço de certo número de produções, verbais ou não, como um nome de autor, um título, um prefácio, que formam uma “orla”, o limiar do texto, observa-se que as adequações das publicações da obra aos seus contextos e públicos revelam não apenas o desejo da escritora em participar ativamente da história política do seu país, mas apresenta a tessitura de um projeto literário poético, de uma mulher oitocentista da América do Sul, atravessado pela marca do exílio.
Copyright (c) 2025 Luma Virgínia de Souza Medeiros, Regina Silva https://creativecommons.org/licenses/by/4.0
Sketchbooks as an artistic work: a reflection on archives in contemporary art
This article aims to propose a reflection on the ways in which archives are presented in contemporary art, specifically addressing the establishment of the sketchbook as an archival process in the context of poetic productions. It presents an analysis of the concept of the sketchbook historically produced by artists and its material relationship with the book format, in order to determine and observe that this medium is not only related to procedures intended for a particular view of mnemonic notes, but goes beyond this intimate situation, revealing itself as a legitimate material form of expression intended for the public and carrying within itself a signic potential with numerous conceptual and relational implications linked to the archive, drawing, and consequently other artistic languages.
Copyright (c) 2025 Paula Almozara https://creativecommons.org/licenses/by/4.0
That single word: Gabriela Mistral's creative process from the poem "La que camina"
Gabriela Mistral published three books of poetry before receiving the Nobel Prize in Literature in 1945. Her fourth and final book published during her lifetime, Lagar, published in 1954 and and features a section dedicated to women, titled “Locas mujeres”, composed of sixteen poems. In this paper, we analyze and compare the audio recording, manuscript, and final version of the poem “La que camina”, part of this section. Both the manuscript and the audio recording are available in the Gabriela Mistral archive at the National Library of Chile (BNC), as part of the Archivo del Escritor collection; the published version we use is from Poesías completas (Aguilar, 1970, first reprint). Drawing on the methodological tools of genetic criticism (Pino; Zular, 2007), we propose an analysis organized around stages of textual reconfiguration that make it possible to observe the poem’s lexical, rhythmic, and structural transformations throughout its writing process. We consider dictation as a productive instance in which orality functions as a generative principle that shapes the formal configuration of the text, rather than merely as a preliminary stage to be superseded by writing.
"Desenhos para sonhar" (2024–), by Maria Ramos Gazel
This essayistic fac-símile accompanies the series “Desenhos para Sonhar” (2024–) by Maria Ramos Gazel, composed, to date, of 18 drawings – made with oil pastel on black sulfite paper – that emerge from the artist’s commitment to drawing daily before going to sleep, with the aim of nurturing her dream experience. The series thus arises from the intertwining of aesthetic, clinical, and political practice, activating dreaming as a territory of subjective invention and sensitive listening. This fac-símile, however, does not stem from a desire to analyze “Desenhos para Sonhar” (2024–). On the contrary, it arises from the wish to rehearse conditions in which subtle marks – neither always visible nor measurable – that continue to act after the encounter with the works may remain in a state of latency, awaiting not decoding, but an expanded sensitive field of dialogue, relation, and circulation among images, intentions, and meanings, in resonance with Maria Ramos Gazel’s gesture of care, fabulation, and resistance to the impoverishment of dreaming.
Copyright (c) 2026 Lindomberto Ferreira Alves https://creativecommons.org/licenses/by/4.0
O memorial poético como extensão dos processos criativos em artes
O artigo propõe a abertura de uma reflexão sobre os desafios enfrentados por artistas-pesquisadoras/es ao lidar com a escrita em memoriais poéticos em Artes. A partir de uma investigação teórica articulada a uma pesquisa empírica com perguntas abertas, respondidas por artistas de diversas regiões do país, discute-se a hipótese de que, nesse contexto, a escrita é frequentemente tratada e encarada como mera representação da obra. Isso tende a reforçar uma abordagem descritiva, dogmática e normativa da própria prática da escrita, o que dificulta que os memoriais poéticos sejam acionados como dimensão constitutiva, propulsora e coextensiva dos processos de criação artística.
Copyright (c) 2025 Lindomberto Ferreira Alves, Maria dos Remédios de Brito https://creativecommons.org/licenses/by/4.0