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Ekphrasis in the poetry of Albano Martins

Grant number: 13/05117-3
Support type:Scholarships abroad - Research
Effective date (Start): July 15, 2013
Effective date (End): August 07, 2013
Field of knowledge:Linguistics, Literature and Arts - Literature - Other Vernacular Literatures
Principal Investigator:Alvaro Cardoso Gomes
Grantee:Alvaro Cardoso Gomes
Host: Maria João Pinto Coelho Reynaud
Home Institution: Universidade de Santo Amaro (UNISA). São Paulo , SP, Brazil
Local de pesquisa : Universidade do Porto (UP), Portugal  

Abstract

This project, "Ekphrasis in the poetry of Albano Martins," is a continuation of interdisciplinary research I have been undertaking for several years on the rhetorical device of ekphrasis. Originally, ekphrasis merely referred to the literary description of objects, such as when poets create a mimesis of nature. As in the poet Horace's concept of ut pictura poesis ('as is painting, so is poetry'), the verbal representation of poetry was considered analogous or equivalent to that of the non-verbal plastic arts. Later on, the meaning of the term ekphrasis underwent a transformation. The concept developed into the theory that poets should imitate not the objects themselves, rather, the fictional image of those objects - as a result, ekphrasis was associated with the mimesis of culture more than of nature itself, according to Barbara Cassin. This is the view of ekphrasis I intend to work with. To this end, instead of focusing on description per se and/or the imitation of nature, ubiquitous in the work of Albano Martins, the focus of my research will be on his poems where the description of paintings and sculptures is of consequence, mainly in the following volumes: Inconcretos domínios (1980), Entre a Cicuta e o Mosto (1992) and, in particular, A Voz do Olhar (1998). My intention is to reveal how Albano Martins mirrors cultural objects-paintings and sculptures-working towards the creation of aesthetic objects with a life of their own, parallel to that of the contemplated paintings and sculptures. In so doing he fills the void inevitably created after the contemplation of the aesthetic object has come to an end, with the risk of the dilution or even erasure of the experience. Concurrently, I intend to explore how the poet achieves this dialogue between codes, the verbal and the non-verbal; specifically, which stylistic devices he employs to bring equivalence between poetic language and that of painting and sculpture. (AU)