Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes

Detalhes bibliográficos
Ano de defesa: 2025
Autor(a) principal: Isabelle Ferreira Scalambrini Costa
Orientador(a): Não Informado pela instituição
Banca de defesa: Não Informado pela instituição
Tipo de documento: Dissertação
Tipo de acesso: Acesso aberto
Idioma: por
Instituição de defesa: Universidade Federal de Minas Gerais
Programa de Pós-Graduação: Não Informado pela instituição
Departamento: Não Informado pela instituição
País: Não Informado pela instituição
Palavras-chave em Português:
Lopes, Adília – Crítica e interpretação
Poesia portuguesa – História e crítica
Écfrase
Link de acesso: https://hdl.handle.net/1843/81849
Resumo: This work aims to carry out a close reading of Adília Lopes’ ekphrastic poems from paintings within a time frame of publications (1985-2007), in order to understand the dialogue between poetry and painting based on the analysis of the ekphrastic procedures developed by the portuguese poet in the selected poems. Therefore, we present an overview of the comparative parallels between poetry and painting, from classical antiquity to contemporary times based on the studies of Jacqueline Lichtenstein (2008) and Márcia Arbex (2022). We start from the concepts of pictorial, defined by Liliane Louvel in “Nuanças do pictural” (2012), and ekphrasis, based on the history of the concept elaborated by Claus Clüver (2024), Louvel (2012), Jonathan Eliis (2012) and Joana Matos Frias’ (2016) studies, to understand theses concepts and procedures of intermediality. In conclusion, we analyze each selected poem in order to understand the poetic and thematic procedures of Adília Lopes’ ekphrastic poetry.
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spelling 2025-04-25T14:06:58Z2025-09-09T01:14:26Z2025-04-25T14:06:58Z2025-02-14https://hdl.handle.net/1843/81849This work aims to carry out a close reading of Adília Lopes’ ekphrastic poems from paintings within a time frame of publications (1985-2007), in order to understand the dialogue between poetry and painting based on the analysis of the ekphrastic procedures developed by the portuguese poet in the selected poems. Therefore, we present an overview of the comparative parallels between poetry and painting, from classical antiquity to contemporary times based on the studies of Jacqueline Lichtenstein (2008) and Márcia Arbex (2022). We start from the concepts of pictorial, defined by Liliane Louvel in “Nuanças do pictural” (2012), and ekphrasis, based on the history of the concept elaborated by Claus Clüver (2024), Louvel (2012), Jonathan Eliis (2012) and Joana Matos Frias’ (2016) studies, to understand theses concepts and procedures of intermediality. In conclusion, we analyze each selected poem in order to understand the poetic and thematic procedures of Adília Lopes’ ekphrastic poetry.CNPq - Conselho Nacional de Desenvolvimento Científico e TecnológicoporUniversidade Federal de Minas Geraishttp://creativecommons.org/licenses/by-nc-nd/3.0/pt/info:eu-repo/semantics/openAccessAdília Lopespoesia portuguesapinturapicturalécfraseLopes, Adília – Crítica e interpretaçãoPoesia portuguesa – História e críticaÉcfraseDar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisIsabelle Ferreira Scalambrini Costareponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGhttp://lattes.cnpq.br/7727723276990255Raquel dos Santos Madanêlo Souzahttp://lattes.cnpq.br/8919995743954916Augustto Corrêa CiprianiSofia Maria de Sousa SilvaEste trabalho possui como objetivo realizar uma leitura detida dos poemas de Adília Lopes que se constituem como écfrases de pinturas, dentro de um recorte temporal das publicações (1985-2007), a fim de compreender o diálogo entre poesia e pintura a partir da análise dos procedimentos ecfrásticos da poeta portuguesa nos poemas selecionados. Sendo assim, apresentamos um panorama dos paralelos comparativos entre poesia e pintura, da antiguidade clássica à contemporaneidade, a partir dos estudos de Jacqueline Lichtenstein (2008) e Márcia Arbex (2022). Partimos dos conceitos de pictural, definido por Louvel em “Nuanças do pictural” (2012), e de écfrase, levando em consideração a história do conceito elaborada por Claus Clüver (2024), Louvel (2012), Jonathan Ellis (2012) e Joana Matos Frias (2016), para compreender esses conceitos e procedimentos da intermidialidade. Dessa forma, analisamos cada poema selecionado a fim de compreender os procedimentos poéticos e temáticos da poesia écfrástica de Adília Lopes.BrasilPrograma de Pós-Graduação em Estudos LiteráriosUFMGCC-LICENSElicense_rdfapplication/octet-stream811https://repositorio.ufmg.br//bitstreams/7cc6298d-84ac-4051-951e-6cadc332c999/downloadcfd6801dba008cb6adbd9838b81582abMD51falseAnonymousREADORIGINALDissertação- versão final PDFa.pdfapplication/pdf17747100https://repositorio.ufmg.br//bitstreams/97fee2ce-f365-41ca-a357-2644790c7857/download7d0a0f53632fca8d1c17f2d0898e8edeMD52trueAnonymousREADLICENSElicense.txttext/plain2118https://repositorio.ufmg.br//bitstreams/39886f3a-3b6e-49c8-ace9-ea116d662284/downloadcda590c95a0b51b4d15f60c9642ca272MD53falseAnonymousREAD1843/818492025-09-08 22:14:26.35http://creativecommons.org/licenses/by-nc-nd/3.0/pt/Acesso Abertoopen.accessoai:repositorio.ufmg.br:1843/81849https://repositorio.ufmg.br/Repositório InstitucionalPUBhttps://repositorio.ufmg.br/oairepositorio@ufmg.bropendoar:2025-09-09T01:14:26Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)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
dc.title.none.fl_str_mv Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
title Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
spellingShingle Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
Isabelle Ferreira Scalambrini Costa
Lopes, Adília – Crítica e interpretação
Poesia portuguesa – História e crítica
Écfrase
Adília Lopes
poesia portuguesa
pintura
pictural
écfrase
title_short Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
title_full Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
title_fullStr Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
title_full_unstemmed Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
title_sort Dar a ver/ o que eu/ vejo: a pintura na poesia ecfrástica de Adília Lopes
author Isabelle Ferreira Scalambrini Costa
author_facet Isabelle Ferreira Scalambrini Costa
author_role author
dc.contributor.author.fl_str_mv Isabelle Ferreira Scalambrini Costa
dc.subject.por.fl_str_mv Lopes, Adília – Crítica e interpretação
Poesia portuguesa – História e crítica
Écfrase
topic Lopes, Adília – Crítica e interpretação
Poesia portuguesa – História e crítica
Écfrase
Adília Lopes
poesia portuguesa
pintura
pictural
écfrase
dc.subject.other.none.fl_str_mv Adília Lopes
poesia portuguesa
pintura
pictural
écfrase
description This work aims to carry out a close reading of Adília Lopes’ ekphrastic poems from paintings within a time frame of publications (1985-2007), in order to understand the dialogue between poetry and painting based on the analysis of the ekphrastic procedures developed by the portuguese poet in the selected poems. Therefore, we present an overview of the comparative parallels between poetry and painting, from classical antiquity to contemporary times based on the studies of Jacqueline Lichtenstein (2008) and Márcia Arbex (2022). We start from the concepts of pictorial, defined by Liliane Louvel in “Nuanças do pictural” (2012), and ekphrasis, based on the history of the concept elaborated by Claus Clüver (2024), Louvel (2012), Jonathan Eliis (2012) and Joana Matos Frias’ (2016) studies, to understand theses concepts and procedures of intermediality. In conclusion, we analyze each selected poem in order to understand the poetic and thematic procedures of Adília Lopes’ ekphrastic poetry.
publishDate 2025
dc.date.accessioned.fl_str_mv 2025-04-25T14:06:58Z
2025-09-09T01:14:26Z
dc.date.available.fl_str_mv 2025-04-25T14:06:58Z
dc.date.issued.fl_str_mv 2025-02-14
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/masterThesis
format masterThesis
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dc.identifier.uri.fl_str_mv https://hdl.handle.net/1843/81849
url https://hdl.handle.net/1843/81849
dc.language.iso.fl_str_mv por
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rights_invalid_str_mv http://creativecommons.org/licenses/by-nc-nd/3.0/pt/
eu_rights_str_mv openAccess
dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais
publisher.none.fl_str_mv Universidade Federal de Minas Gerais
dc.source.none.fl_str_mv reponame:Repositório Institucional da UFMG
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