Abstract
The seizure of the dialogue between photographs and text appears as a major focus in the study of the essay which is established by Maureen Bisilliat in A João Guimarães Rosa (1969), production inspired by the Grande Sertão: Veredas (1956), of João Guimarães Rosa. In her work, Bisilliat associates photos to transcripts of the novel Rosean and proposes a kind of roadmap imagery of the inte…