Publicação
Euclides da Cunha's Rebellion in the Backlands: the intervention of an intermedia and multimodal "technography"
| Resumo: | Rebellion in the Backlands (Os Sertões), by Euclides da Cunha, is an intermedia and multimodal project. Its "particular technography", as Euclides foresees it in a letter to José Veríssimo, "embodies itself" in a "transgression of genres" (cf. Haroldo de Campos), and requires the use of maps and photographs. As a photobook of Brazilian literature, this is our most notable hybrid "expanded literature" experiment. In Os Sertões, there are at least two descriptive levels that should not be confused in the analyses. Its macrostructure, conceived as an intermedia project, which intersperses, over more than 600 pages, images by cartographers, and photos from the Flávio de Barros collection. This architecture depends on the microstructure of local text-image interaction, a property we call here co-location. Our focus, in this article, is on the work’s macrostructure. Five editions were directly compared (1902, 1903, 1905, 1933, 2016). |
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| Autores principais: | Fernandes, Ana Luiza |
| Outros Autores: | Queiroz, João |
| Assunto: | Os Sertões fotolivro de literatura intermidialidade co-localização Literatura Brasileira Fotografia Os Sertões fotolibro de literatura intermedialidad co-localización Literatura brasileña Fotografía Rebellion in the Backlands literary photobooks intermediality co-localization Brazilian Literature Photography |
| Ano: | 2021 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | unknown |
| Instituição associada: | Imprensa da Universidade de Coimbra |
| Idioma: | português |
| Origem: | MATLIT: Materialities of Literature |
| Resumo: | Rebellion in the Backlands (Os Sertões), by Euclides da Cunha, is an intermedia and multimodal project. Its "particular technography", as Euclides foresees it in a letter to José Veríssimo, "embodies itself" in a "transgression of genres" (cf. Haroldo de Campos), and requires the use of maps and photographs. As a photobook of Brazilian literature, this is our most notable hybrid "expanded literature" experiment. In Os Sertões, there are at least two descriptive levels that should not be confused in the analyses. Its macrostructure, conceived as an intermedia project, which intersperses, over more than 600 pages, images by cartographers, and photos from the Flávio de Barros collection. This architecture depends on the microstructure of local text-image interaction, a property we call here co-location. Our focus, in this article, is on the work’s macrostructure. Five editions were directly compared (1902, 1903, 1905, 1933, 2016). |
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