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
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
“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
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
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
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
“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
“Aperto-lhe a mão”: Mario de Andrade reads Francisca Júlia and Julia Cortines
Mário de Andrade always understood that “by following the old poets, the modernists are so new.” The attentive reader, eager to follow aesthetic resources, appropriating forms and good solutions, leaves marks between the lines and on blank pages, in the footnotes and margins of the many pages where they seek to verify the poetic rigor of Parnassianism. They extract possibilities, reject many others, and make their poetry take shape through dedicated study and an affection for good versification. Approaching the formative readings of the São Paulo writer offers access to a dense and quite interesting framework of poetic matrices, as it reveals the path of a modernist engaged with these readings long after the Week of 1922, as marginal notes dated from that period allow us to affirm. This dialogue invites and greatly unsettles us when we realize the significant exchange established with Francisca Julia and Julia Cortines, fundamental figures in the production of our Parnassianism, although little celebrated at the time — and throughout the years that followed.
Copyright (c) 2025 Ligia Kimori https://creativecommons.org/licenses/by/4.0
Writing as a palimpsest: the metagenetic space in L'Événement, from Annie Ernaux
Composed by the confluence of distinct scriptural layers that overlap without undoing one another, the autobiographical account L’Événement (2000) by Annie Ernaux comes from a work of memory and writing aimed at baring the clandestine abortion underwent by the author in 1964. On the one hand, the narrative incorporates fragments from Ernaux’s personal archive – since she cites the diary and the agenda kept during the narrated events – and, on the other, it incorporates passages destinated to reflections regarding the book’s textual elaboration, which echo the language used in the writing journal L’Atelier Noir (2011). This one reveals the hesitations leading to L’Événement’s composition in the year of 1999, later revisited in the autobiography Le jeune homme (2022). In this regard, this article relies on the metaphor of the palimpsest to explore the textual overlapping that takes place in L’Événement and to grasp its relevance to the narrative’s creation. Therefore, it investigates Ernaux’s literary project and assesses the possibilities of interpretation opened by a genetic study that is decentralized of the autograph document, ultimately analyzing the abortion account through its relationship with the referenced texts.
Copyright (c) 2025 Gabriela Trovo, Claudia Consuelo Amigo Pino https://creativecommons.org/licenses/by/4.0
Conferences and conversations at the 16th International Congress of the Association of Researchers in Genetic Criticism - Expanded archive: connections and processes of creation
Editorial for dossier no. 55: “Arquivo expandido: conexões e processos de criação”.
Copyright (c) 2025 Katerina Blasques Kaspar, Aline Novais de Almeida https://creativecommons.org/licenses/by/4.0
Literary interventions in the northwest of the province of Buenos Aires: between the archive and the repertoire, between the corpus and the body.
In the doctoral research project entitled ‘Archivos contra desierto: intervenciones literarias en el noroeste de la provincia de Buenos Aires’, we studied a set of materials waiting to be exhumed (Gerbaudo, 2013), to make them more visible and visible, and thus expand our possible worlds (Despret, 2022). In this article, we present a methodological perspective to begin working with a set of three literary interventions present in the northwest of the province of Buenos Aires, located in their territories, without pretending to enter into the homogenisation proposed by literature, but rather to interrupt the system by being studied with commitment. From the archive, in the territory and listening to its own logics, we set out to read three heterogeneous pieces that intervene in the territory and interrupt the fiction of the desert constructed for this territory: the artist's book by Raquel ‘Kuki’ Giubileo in General Pinto, the voices of the storytellers on the corner in Junín and the books of the publishing house Diario del Desierto in Lincoln. We strain the notions of archive and corpus by starting from a detail or a firefly of the corpus constructed for this doctoral research: the narration of the story ‘Two plus one’ by Cecilia Ávila at the Finca Las Antípodas in 2021.
Copyright (c) 2025 Lucía Fayolle https://creativecommons.org/licenses/by/4.0
What Concept for the Art of the Archive?
In this text, we propose a brief reflection on the presence of archives as both material and theme in contemporary art. We begin with an overview of some exhibitions in which the figure of the archival artist emerges, raising the issue of the historical specificity of the recent turn to archives in art. We then approach the topic from a theoretical perspective, mapping out some concepts advanced by philosophy and art criticism in relation to the archive. In dialogue with the texts of Michel Foucault, Giorgio Agamben, Jacques Derrida, and Hal Foster, we propose some reflections which, far from exhausting the subject, aim to raise questions that highlight the complexity of the theme beyond its material dimension.
Copyright (c) 2025 Gabriel Ferreira Zacarias https://creativecommons.org/licenses/by/4.0
As bases genéticas dos personagens Manuel Espada e Sigismundo Canastro de Levantado do chão
Neste trabalho, ao traçar uma análise genética dos personagens Manuel Espada e Sigismundo Canastro, de Levantado do chão (1980), veremos que o processo criativo dos personagens saramaguianos extrapolam os exemplos memoriais do diário de João Domingos Serra, principal material preparatório do romance. Isso nos leva a concluir que a expansão da população ficcional de Levantado do chão tem suas bases fincadas também em outras fontes memoriais relacionadas à vida dos camponeses alentejanos, fontes cujas relações detalharemos aqui de forma inédita. Portanto, para aumentar o universo de personagens do seu premiado romance de 1980, veremos que José Saramago consultou muitos outros registros sobre a vida dos trabalhadores agrícolas daquela região, aproveitando-se, sobretudo, dos materiais advindos da recém liberdade editorial conquistada a partir do 25 de Abril de 1974, quando os portugueses passaram a ter acesso a uma gama de livros de jornalismo investigativo, política, história, antropologia e sociologia que antes eram proibidos de circular no país.
Copyright (c) 2025 Daniel Vecchio Alves https://creativecommons.org/licenses/by/4.0
Natalia Ginzburg's characters and the variants of La città e la casa
La città e la casa (1984) is an epistolary novel written by Natalia Ginzburg. The author donated its manuscript to the Biblioteca Nazionale Centrale di Roma, which reveals some corrective habits at an advanced stage of the composition of the narrative. In the absence of a pen exclusively dedicated to corrections, late temporal stages were recognized because of onomastic clues, articulated with a process of polishing the constructions of the characters. This article proposes an interpretative hypothesis for the variants linked to the characters based on the term “physiognomy” [fisionomia], a word recurrently used by Ginzburg in literary criticism articles to express the strength of a text in transmitting images and human features with clear contours. By analysing the variants considering the newspaper texts and interviews that signal the author's conception of character and representation of reality, it is possible to perceive that the interventions in the text are part of an effort to unfold visible characteristics into habits that give concreteness to their attributes so that they inscribe a memory or be turned into words that can circulate between the different senders as a residue of understanding among a dispersed community of friends.
Copyright (c) 2025 Iara Machado Pinheiro https://creativecommons.org/licenses/by/4.0
Literature and Creation Process: conversation with Milton Hatoum
Conversation between the writer Milton Hatoum and the researcher Luz Pinheiro, at the Artists’ Panel on the first day of the 16º Congresso Internacional da APCG - Arquivo expandido: conexões e processos de criação.
Copyright (c) 2025 Milton Hatoum, Luz Pinheiro https://creativecommons.org/licenses/by/4.0
Music and Creation Process: conversation with Anelis Assumpção
Conversation between the musician Anelis Assumpção and the researcher Maurício Ayer, at the Artists’ Panel on the first day of the 16º Congresso Internacional da APCG - Arquivo expandido: conexões e processos de criação.
Copyright (c) 2025 Anelis Assumpção, Maurício Ayer https://creativecommons.org/licenses/by/4.0
Photography and Archive: conversation with Eustáquio Neves
Conversation between Eustáquio Neves, photographer from Minas Gerais, and researcher Paula Martinelli, at the Artists' Panel on the third day of the 16º Congresso Internacional da APCG - Arquivo expandido: conexões e processos de criação.
Copyright (c) 2025 Eustáquio Neves, Paula Martinelli https://creativecommons.org/licenses/by/4.0
Between the Prompt and the Opacity of Generative Artificial Intelligence: Pathways to the Creative Process Criticism
This essay highlights two avenues for genetic criticism in the case of creative processes that employ generative artificial intelligence tools, namely: the prompt and the opacity of the machine. Initially, we underscore the emergence of generative artificial intelligence in the creative field and the excellence of genetic criticism for its analysis. Subsequently, we navigate the paths of the prompt, highlighting the protagonism of the user’s textual input, and, later, the predictive and probabilistic logics of the machine, which greatly influence the result generated with artificial intelligence.
Copyright (c) 2025 Renato Gonçalves https://creativecommons.org/licenses/by/4.0
Blowing Up the Archive: Paul Valéry’s Course in Poetics
This essay was written in the context of the APCG 16th Congress on the “Arquivo Expandido: conexões e processos de criação” and seeks to demonstrate how this notion is crucial for shaping a broader vision of genetic criticism, especially when considered within the also-expanded dynamics of cultural practices. That is, if we take the contributions of genetic criticism to literary theory to their ultimate consequences, we will see how the very concepts of process, of the work, and, of course, of the archive, undergo significant transformation. We will explore this with and through Paul Valéry’s Course in Poetics, recently published by Gallimard (2023). Our aim, therefore, is twofold: (1) to present some of the issues surrounding the publication of Valéry’s Course in Poetics; and (2) to take Valéry’s positions on the anthropology of writing, developed in the course, as a provocation to how we conceive of writing and archives.
Copyright (c) 2025 Roberto Zular https://creativecommons.org/licenses/by/4.0
Dalton Without Enigmas: Paths of Creation, Readings, and Rewriting
This text presents some of the processes of creation, reading, and rewriting by the short story writer Dalton Trevisan (1925–2024), based on documents that comprise the author’s archive.
Copyright (c) 2025 Fabiana Faversani Vieira https://creativecommons.org/licenses/by/4.0
The reception of Barthes in France is distinguished by its emotional dimension (his first commentators were his students) and by the presence of his archives on national territory. The edition of the Complete Works, overseen by Éric Marty, gave rise to two publications that reflect the author’s image and its evolution: while the first, in three volumes (1993–1995), without critical apparatus, establishes a monumental Barthes, the second, in five volumes preceded by lengthy prefaces and more financially accessible, presents a utilitarian Barthes. The publication of unpublished materials (notes from seminars at the Collège de France and the École Pratique des Hautes Études) stems from the same authorial imaginary: based on Barthes’s distinction between the spoken and the written, between the “writer” (écrivain) and the “writing subject” (écrivant), the editorial principle evolves to culminate in the publication of the oral versions of The Preparation of the Novel and The Neutral. Barthes’s Fichier and correspondence represent the two major ongoing projects. The former offers access to the writing workshop, allowing one to assess the complementary roles of the notebook and the file, the word and the sentence, the nota and the notula. The latter, barely explored, suggests how deeply Barthes made dialogue a fundamental element of creation.
Copyright (c) 2025 Claude Coste; Giovani T. Kurz https://creativecommons.org/licenses/by/4.0
Among the many intersections that can be recognized between literature and cinema, perhaps one of the least explored areas has been cinematic writing, understood broadly, from works notably influenced by the audiovisual medium to writings born to be brought to the screen. Considering recent studies that challenge the notion of the archive, a necessary question arises around these writings affected by cinema: Are these writings not also part of the cinematic archive? From its very phrasing, this question raises questions about how to approach these writing processes born from the convergence of media, but it also forces us to consider how to read them in and from within that same cinematic archive.
Copyright (c) 2025 Lea Hafter; Guilherme Vasconcelos, Katerina Blasques Kaspar https://creativecommons.org/licenses/by/4.0
Angústia, by Graciliano Ramos: the José Olympio collection and the restitution of the text of the novel
The works of Graciliano Ramos entered the public domain on January 1, 2024. Since then, the publisher Todavia has begun publishing the Graciliano Ramos collection, with the aim of bringing to readers, in editions that are finally guided by the restitution of the author's last inspiration, the titles published during the writer's lifetime, as well as unpublished works. To date, two novels have been published (Angústia and Vidas secas), as well as the children's book Os filhos da coruja (2024), resulting from a handwritten poem that has never been printed before. In view of this initiative, this article aims to address the work of establishing the text of Angústia (2024), for which a basic critical edition was produced, considering not only biographical and chronological factors, but also the comparison of a wide myriad of versions (twelve in total) produced before the death of the author from Alagoas in March 1953. Among this material, many modern manuscripts stand out: typographic proofs, working copies and typescripts that originally belonged to the archive of Livraria José Olympio Editora and are today under the custody of both the Archive of the Instituto de Estudos Brasileiros and the Biblioteca Brasiliana Guita and José Mindlin, both institutions of the University of São Paulo
Copyright (c) 2025 Thiago Mio Salla https://creativecommons.org/licenses/by/4.0
Retalhos: the Weaving in Lima Barreto Creation
This article discusses aspects of the creative processes of writer Afonso Henriques de Lima Barreto (1881-1922), based on a collection of newspaper clippings, accompanied by a few handwritten notes, gathered in notebooks called Retalhos by the writer. Two axes are presented for reflection: the street as an agglutinating space for languages and genres, and the network, a concept that highlights the intersections of themes and trends, suggesting various interconnections and interactions. The network becomes visible through the rich connection between the street and the notebooks. From this perspective, creation can be understood, through Retalhos, as a complex relational network.
Copyright (c) 2025 Carmem Negreiros https://creativecommons.org/licenses/by/4.0