BROWN UNIVERSITY ▼ DEPARTMENT OF PORTUGUESE AND BRAZILIAN STUDIES
SPRING SEMESTER 2026
THE BODY MOVES THE MOUTH:
EXPANDED POETRY IN PORTUGAL AND BRAZIL
DAY AND TIME
PROFESSOR PATRÍCIA LINO
Email address [TBA] ZOOM ID: 965 449 2228
Office Hours: TBA
SPRING SEMESTER 2026
THE BODY MOVES THE MOUTH:
EXPANDED POETRY IN PORTUGAL AND BRAZIL
DAY AND TIME
PROFESSOR PATRÍCIA LINO
Email address [TBA] ZOOM ID: 965 449 2228
Office Hours: TBA
Based on the reading of various Portuguese and Brazilian authors, such as Luís Aranha, Cesário Verde, Oswald de Andrade, Pagu, Julieta Barbara, Ana Hatherly, Melo e Castro, Salette Tavares, Augusto de Campos, Ferreira Gullar, or Aline Motta, THE BODY MOVES THE MOUTH: EXPANDED POETRY IN PORTUGAL AND BRAZIL proposes: a) understanding the intermedial development of modern poem throughout the 20th and 21st centuries both in Portugal and Brazil by analyzing and rehabilitating a diverse number of examples connected to avant-garde movements (Modernism, Concrete Poetry, PO.EX, Neoconcrete Poetry, Poema/processo); b) the creation of “infraleituras”, a new type of expanded, performative, and anti-colonial essay that unfolds in the expansion of the essayist's own bodily faculties; and, finally, c) the impact of the aforementioned avant-garde movements in what involves making poems in both countries today. Languages: English and Portuguese. |
Que me desculpem os poetas. Eu não os ataco para molestá-los e com gosto farei homenagem aos altos valores pessoais de muitos deles; mas o cálice dos seus pecados já se encheu. É preciso abrir as janelas desta hermética casa e pôr seus habitantes ao ar fresco, é preciso sacudir a pesada, majestosa e rígida forma que os oprime. Pouco me importa que insultem a mim ou a minha nota. – Por acaso posso esperar que aceitem um julgamento que tira sua razão de ser? – E, além disso, minhas palavras estão destinadas à nova geração. O mundo se veria em situação desesperadora se a cada ano não entrasse um novo contingente de seres humanos, frescos, livres do passado, não comprometidos com ninguém nem com nada, não paralisados por postos, glórias, obrigações e responsabilidades, seres, enfim, não definidos pelo que já fizeram, e portanto livres para escolher. WITOLD GOMBROWICZ "CONTRA OS POETAS". 1947. Trad.: Clarisse Lyra e Rodrigo Lobo Damasceno Nel proceso utilizado para domesticar poetas, el aplauso, el consenso elogioso, la popularidade, son los fatores más peligrosos. El poeta que sucumbe a la tormenta de los aplausos deve pensar que los imbéciles, que formam la gran massa de los chamados entendidos, non se equivocan nunca: somente aclamam lo inofensivo. El poeta deve desconfiar desse aplauso, desse elogio unânime, que usam para fabricar las grades de sua jaula. Por isso Breton lanzó um alerta lúcido a los poetas al dizer: “La aprobación del público debe ser evitada acima de tutti kuanti”. Pues un poeta domesticado por el elogio tem mais valor para los predicadores de la submissione que los inocentes versificadoresque apresentam como substituto. El poeta domesticado se convierte en ejemplo de la inutilidad de ser libre. Como el león domesticado, es una caricatura grotesca dum gran señor de la liberdade, y seus rugidos adquirem entonces tons de canto de rouxinol. ALDO PELLEGRINI transdelirado al portunhol selvagem por DOUGLAS DIEGUES |
CLASS 1
PART 1: INTRODUCTIONS, INTRODUCTION TO THE SYLLABUS
PART 2: EXPANSION, INTERMEDIALITY, OR HYBRIDITY
2.1. What is a poem?; 2.2. What is an expanded poem?; 2.3. Expansion versus traditional books; 2.4. Universal expanded objects; 2.5. From Simias of Rhodes to Mallarmé; 2.6. Os contemporâneos não sabem ler; 2.7. How to read an expanded poem?
PART 3: FIRST COLLECTIVE WRITING EXERCISE: WHAT IS A POEM?
RECOMMENDED TEXTS
ASL Mendonça & Álvaro de Sá, Poesia de Vanguarda no Brasil: de Oswald de Andrade ao Poema Visual, 1983.
Álvaro Faleiros, "Haroldo de Campos e a dobra de Mallarmé", 2008. Available here.
David Gullentops, Poétique du Lisuel, 2001.
Jan Kwapisz, "The Three Preocupations of Simias of Rhodes", Aitia, 2018. Available here.
Katherine Shingler, "Perceiving text and image in Apollinaire's calligrammes", Paragraph, 2011. Available here.
Roland Greene, "Material poetry of the Renaissance / The Renaissance of material poetry: An annotated record of the exhibition", Harvard Library Bulletin 3, 1992. Available here.
Walter Sutton, “The Literary Image and the Reader: A Consideration of the Theory of Spatial Form”, The Journal of Aesthetics and Art Criticism, 1957.
W. J. T. Mitchell, Spatial Form in Literature: Toward a General Theory, Critical Inquiry, 1980.
HOMEWORK
— Please read the following selection of texts. Available here.
— Please write a comment (minimum 3 pages) on one of the poems and send it to me by email up 2h before our next seminar.
PART 1: INTRODUCTIONS, INTRODUCTION TO THE SYLLABUS
PART 2: EXPANSION, INTERMEDIALITY, OR HYBRIDITY
2.1. What is a poem?; 2.2. What is an expanded poem?; 2.3. Expansion versus traditional books; 2.4. Universal expanded objects; 2.5. From Simias of Rhodes to Mallarmé; 2.6. Os contemporâneos não sabem ler; 2.7. How to read an expanded poem?
PART 3: FIRST COLLECTIVE WRITING EXERCISE: WHAT IS A POEM?
RECOMMENDED TEXTS
ASL Mendonça & Álvaro de Sá, Poesia de Vanguarda no Brasil: de Oswald de Andrade ao Poema Visual, 1983.
Álvaro Faleiros, "Haroldo de Campos e a dobra de Mallarmé", 2008. Available here.
David Gullentops, Poétique du Lisuel, 2001.
Jan Kwapisz, "The Three Preocupations of Simias of Rhodes", Aitia, 2018. Available here.
Katherine Shingler, "Perceiving text and image in Apollinaire's calligrammes", Paragraph, 2011. Available here.
Roland Greene, "Material poetry of the Renaissance / The Renaissance of material poetry: An annotated record of the exhibition", Harvard Library Bulletin 3, 1992. Available here.
Walter Sutton, “The Literary Image and the Reader: A Consideration of the Theory of Spatial Form”, The Journal of Aesthetics and Art Criticism, 1957.
W. J. T. Mitchell, Spatial Form in Literature: Toward a General Theory, Critical Inquiry, 1980.
HOMEWORK
— Please read the following selection of texts. Available here.
— Please write a comment (minimum 3 pages) on one of the poems and send it to me by email up 2h before our next seminar.
CLASS 2
PART 1: INFRALEITURA
1.1. What is the infraleitura; 1.2. Corporeality, decolonization, academic performance; 1.3. In expansion: the essayist's own body; 1.4. Some practical examples of infraleitura.
PART 2: PRACTICAL EXERCISE: INFRALEITURA
[made from poems by Ana Hatherly, Alexandre O'Neill, Mary Ellen Solt, Philadelpho Menezes, Eugen Gomringer, Salette Tavares, Max Bense or Norman H. Pritchard]
PART 3: CITY + SPACE + MIMESIS, MOVEMENT AND THREE-DIMENSIONALITY
3.1. The poem and the emergence of the city; 3.2. Flâneur — flâneuse; 3.3. Mimesis and the spatiotemporal poem; 3.3. Dziga Vertov ► kino-eye; 3.4. Cesário Verde + Luís Aranha ► poema-olho.
PART 4: CHARLES BAUDELAIRE + CESÁRIO VERDE + ÁLVARO DE CAMPOS + LUÍS ARANHA
4.1. Comparative analysis of Charles Baudelaire, Cesário Verde, Álvaro de Campos, and Luís Aranha's poems.
PART 5: FIRST CREATIVE WRITING EXERCISE: POEMA-OLHO
RECOMMENDED TEXTS
Ana Hatherly, A Reinvenção da Leitura: Breve Ensaio Crítico seguido de 19 Textos Visuais, 1975.
Ana Hatherly, A Casa das Musas: Uma Releitura Crítica da Tradição, 1995.
Cameron Finch, “The Subversive Flâneuse: An Interview with Lauren Elkin”, MQR, 2017. Available here.
Dziga Vertov, Man with a Movie Camera, 1929. 1’06’’50’’’.
Dziga Vertov, We: Variant of a Manifesto, Kino-Eye. The Writings of Dziga Vertov, 1984.
Haroldo de Campos, Transcriação, 2013.
Lauren Elkin, Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London, 2017.
Marjorie Perloff, “Writing as Re-writing: Concrete Poetry as Arri.re-Garde”, Ciberletras, 2007.
Olivia Laing, The Lonely City: Adventures in the Art of Being Alone, 2016.
Sylvia Molloy, “Flâneries textuales: Borges, Benjamin y Baudelaire”, Variaciones Borges 8, 1999. Available here.
Vlada Petric, Constructivism in film, 2012.
Walter Benjamin, “On some motifs in Baudelaire”, Walter Benjamin: Selected Writings. Vol. 4, 1938-1940.
Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, 1983.
HOMEWORK
— Please read “Manifesto da poesia pau-brasil" (1924) and "Manifesto antropófago" (1928). Both are available here: in Portuguese and English ("Manifesto da poesia pau-brasil" & "Manifesto antropófago").
— Please read Pau Brasil (1925) by Tarsila do Amaral and Oswald de Andrade. Available here.
— Please write a comment (3 pages minimum) on the relation of the poems with the drawings in Pau Brasil and send it to me by email up to 2h before our next seminar.
PART 1: INFRALEITURA
1.1. What is the infraleitura; 1.2. Corporeality, decolonization, academic performance; 1.3. In expansion: the essayist's own body; 1.4. Some practical examples of infraleitura.
PART 2: PRACTICAL EXERCISE: INFRALEITURA
[made from poems by Ana Hatherly, Alexandre O'Neill, Mary Ellen Solt, Philadelpho Menezes, Eugen Gomringer, Salette Tavares, Max Bense or Norman H. Pritchard]
PART 3: CITY + SPACE + MIMESIS, MOVEMENT AND THREE-DIMENSIONALITY
3.1. The poem and the emergence of the city; 3.2. Flâneur — flâneuse; 3.3. Mimesis and the spatiotemporal poem; 3.3. Dziga Vertov ► kino-eye; 3.4. Cesário Verde + Luís Aranha ► poema-olho.
PART 4: CHARLES BAUDELAIRE + CESÁRIO VERDE + ÁLVARO DE CAMPOS + LUÍS ARANHA
4.1. Comparative analysis of Charles Baudelaire, Cesário Verde, Álvaro de Campos, and Luís Aranha's poems.
PART 5: FIRST CREATIVE WRITING EXERCISE: POEMA-OLHO
RECOMMENDED TEXTS
Ana Hatherly, A Reinvenção da Leitura: Breve Ensaio Crítico seguido de 19 Textos Visuais, 1975.
Ana Hatherly, A Casa das Musas: Uma Releitura Crítica da Tradição, 1995.
Cameron Finch, “The Subversive Flâneuse: An Interview with Lauren Elkin”, MQR, 2017. Available here.
Dziga Vertov, Man with a Movie Camera, 1929. 1’06’’50’’’.
Dziga Vertov, We: Variant of a Manifesto, Kino-Eye. The Writings of Dziga Vertov, 1984.
Haroldo de Campos, Transcriação, 2013.
Lauren Elkin, Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London, 2017.
Marjorie Perloff, “Writing as Re-writing: Concrete Poetry as Arri.re-Garde”, Ciberletras, 2007.
Olivia Laing, The Lonely City: Adventures in the Art of Being Alone, 2016.
Sylvia Molloy, “Flâneries textuales: Borges, Benjamin y Baudelaire”, Variaciones Borges 8, 1999. Available here.
Vlada Petric, Constructivism in film, 2012.
Walter Benjamin, “On some motifs in Baudelaire”, Walter Benjamin: Selected Writings. Vol. 4, 1938-1940.
Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, 1983.
HOMEWORK
— Please read “Manifesto da poesia pau-brasil" (1924) and "Manifesto antropófago" (1928). Both are available here: in Portuguese and English ("Manifesto da poesia pau-brasil" & "Manifesto antropófago").
— Please read Pau Brasil (1925) by Tarsila do Amaral and Oswald de Andrade. Available here.
— Please write a comment (3 pages minimum) on the relation of the poems with the drawings in Pau Brasil and send it to me by email up to 2h before our next seminar.
PATRÍCIA LINO. IMPERATIVA ENSAÍSTICA DIABÓLICA. 2024. CAPA + EXCERTO.
DZIGA VERTOV. MAN WITH A MOVIE CAMERA. 1929.
CLASS 3
PART 1: ANTROPOFAGIA, EXPANSION, AND ANTICOLONIALISM
1.1. Recyclable antropofagia; 1.2. Antropophagic expansion; 1.3. Intermediality is always political; 1.4. Cinema and collage.
PART 2: READY MADE, COLLECTIVE THINKING, AND UNORIGINALITY
2.1. Marcel Duchamp and Oswald de Andrade; 2.2. Brazilian Modernists, Semana de Arte Moderna, and other interdisciplinary collaborations); 2.3. Recent artistic appropriations of Theatro Municipal de São Paulo: Emicida & Daiara Tukano; 2.4. Against the Western Author.
PART 3: BOOKS OF POEMS WITH DRAWINGS: CHILDHOOD AND HYBRIDITY
3.1. Perfeito Cozinheiro das Almas deste Mundo (1918-19); 3.2. Feuilles de Route (1924); 3.3. Pau Brasil (1925); 3.4. Quelques Visages de Paris (1925); 3.5. Primeiro Caderno do Alumno de Poesia Oswald de Andrade (1927); 3.6. O Mundo do Menino Impossível (1927).
PART 4: A NEEDLE IN A PORTUGUESE HAYSTACK
4.1. Poemas Propostos (1954) by Jaime Salazar Sampaio.
RECOMMENDED TEXTS
Benedito Nunes, “A antropofagia ao alcance de todos”, Obras Completas de Oswald de Andrade, VI, Do Pau-Brasil à Antropofagia e às Utopias, 1970.
Calvin Tomkin, Introduction, Marcel Duchamp: The Afternoon Interviews, 2013.
Décio Pignatari, “Marco zero de Andrade”, ALFA: Revista de Linguística, 2001.
Eduardo Viveiros de Castro, Encontros, 2008.
Gérard Genette, Palimpsests: Literature in the Second Degree, 1997.
Gilberto Mendonça Teles, Vanguarda Europeia e Modernismo Brasileiro, 1985.
Haroldo de Campos, “Da razão antropofágica: diálogo e diferença na cultura brasileira”, Metalinguagem & Outras Metas, 1992.
Jorge Schwartz, Fervor das Vanguardas: Arte e Literatura na América Latina, 2013.
Leila Perrone-Moisés, “Literatura comparada, intertexto e antropofagia”, Flores da Escrivaninha, 1990.
Linda Hutcheon, Uma Teoria da Paródia, 1985.
Marjorie Perloff, Unoriginal Genius: Poetry by Other Means in the New Century, 2010.
Philadelpho Menezes, Poética e Visualidade. Uma Trajetória da Poesia Brasileira Contemporânea, 1991.
Kenneth David Jackson, "A View on Brazilian Literature: Eating the "Revista de Antropofagia", Latin American Literary Review, 1978.
Kenneth Goldsmith, Uncreative Writing. Managing Language in the Digital Age, 2011.
Roland Topor, A Cozinha Canibal, 2019.
HOMEWORK
— Please read Álbum de Pagu (1929). Available here [Instructions: 1. Enter the website; 2. Click on "Revistas"; 3. Select "02"; 4. Look for the pages of Álbum de Pagu] and here.
— Please read the selected comics by Pagu. Available here.
— Please write a comment (3 pages minimum) about Álbum de Pagu or on the relation of Álbum de Pagu with the author's comics, and send it to me by email up 2h before our next class.
PART 1: ANTROPOFAGIA, EXPANSION, AND ANTICOLONIALISM
1.1. Recyclable antropofagia; 1.2. Antropophagic expansion; 1.3. Intermediality is always political; 1.4. Cinema and collage.
PART 2: READY MADE, COLLECTIVE THINKING, AND UNORIGINALITY
2.1. Marcel Duchamp and Oswald de Andrade; 2.2. Brazilian Modernists, Semana de Arte Moderna, and other interdisciplinary collaborations); 2.3. Recent artistic appropriations of Theatro Municipal de São Paulo: Emicida & Daiara Tukano; 2.4. Against the Western Author.
PART 3: BOOKS OF POEMS WITH DRAWINGS: CHILDHOOD AND HYBRIDITY
3.1. Perfeito Cozinheiro das Almas deste Mundo (1918-19); 3.2. Feuilles de Route (1924); 3.3. Pau Brasil (1925); 3.4. Quelques Visages de Paris (1925); 3.5. Primeiro Caderno do Alumno de Poesia Oswald de Andrade (1927); 3.6. O Mundo do Menino Impossível (1927).
PART 4: A NEEDLE IN A PORTUGUESE HAYSTACK
4.1. Poemas Propostos (1954) by Jaime Salazar Sampaio.
RECOMMENDED TEXTS
Benedito Nunes, “A antropofagia ao alcance de todos”, Obras Completas de Oswald de Andrade, VI, Do Pau-Brasil à Antropofagia e às Utopias, 1970.
Calvin Tomkin, Introduction, Marcel Duchamp: The Afternoon Interviews, 2013.
Décio Pignatari, “Marco zero de Andrade”, ALFA: Revista de Linguística, 2001.
Eduardo Viveiros de Castro, Encontros, 2008.
Gérard Genette, Palimpsests: Literature in the Second Degree, 1997.
Gilberto Mendonça Teles, Vanguarda Europeia e Modernismo Brasileiro, 1985.
Haroldo de Campos, “Da razão antropofágica: diálogo e diferença na cultura brasileira”, Metalinguagem & Outras Metas, 1992.
Jorge Schwartz, Fervor das Vanguardas: Arte e Literatura na América Latina, 2013.
Leila Perrone-Moisés, “Literatura comparada, intertexto e antropofagia”, Flores da Escrivaninha, 1990.
Linda Hutcheon, Uma Teoria da Paródia, 1985.
Marjorie Perloff, Unoriginal Genius: Poetry by Other Means in the New Century, 2010.
Philadelpho Menezes, Poética e Visualidade. Uma Trajetória da Poesia Brasileira Contemporânea, 1991.
Kenneth David Jackson, "A View on Brazilian Literature: Eating the "Revista de Antropofagia", Latin American Literary Review, 1978.
Kenneth Goldsmith, Uncreative Writing. Managing Language in the Digital Age, 2011.
Roland Topor, A Cozinha Canibal, 2019.
HOMEWORK
— Please read Álbum de Pagu (1929). Available here [Instructions: 1. Enter the website; 2. Click on "Revistas"; 3. Select "02"; 4. Look for the pages of Álbum de Pagu] and here.
— Please read the selected comics by Pagu. Available here.
— Please write a comment (3 pages minimum) about Álbum de Pagu or on the relation of Álbum de Pagu with the author's comics, and send it to me by email up 2h before our next class.
(esq.) OSWALD DE ANDRADE. PRIMEIRO CADERNO DO ALUMNO DE POESIA OSWALD DE ANDRADE. 1927.
(dir.) JAIME SALAZAR SAMPAIO. POEMAS PROPOSTOS. 1954.
(dir.) JAIME SALAZAR SAMPAIO. POEMAS PROPOSTOS. 1954.
CLASS 4
PART 1: ÁLBUM DE PAGU + QUADRINHOS
1.1. The interdisciplinary production of women: Patrícia Galvão; 1.2. Interdisciplinarity and feminism: Álbum de Pagu (1929); 1.3. Álbum de Pagu and the art of quadrinhos; 1.4. Pagu’s feminist comics.
PART 2: DIA GARIMPO
2.1. The interdisciplinary production of women: Julieta Barbara; 2.2. A forgotten book of poems with drawings: Dia Garimpo (1939); 2.3. Analysis of “Mãe gentil”.
PART 3: THE 80s-2000s: BOOKS OF POEMS WITH DRAWINGS
3.1. Zuca Sardan, Eustáquio Gorgone de Oliveira, Jorge Lima Barreto, Mário Vaz, Nicolas Behr, Waly Salomão, Ana Cristina Cesar, Décio Pignatari, Manoel de Barros, Hilda Hilst, and Douglas Diegues.
PART 4: ESPELHO CEGO
4.1. The interdisciplinary production of women: Salette Tavares; 4.2. A forgotten book of expanded poems: Espelho Cego (1957); 4.3. Analysis of “Aqui estou”.
PART 6: SECOND CREATIVE WRITING EXERCISE: POEMICS
RECOMMEND TEXTS
Pagu, Autobiografia Precoce, 1940.
Augusto de Campos, Pagu: Vida-Obra, 1982.
José Roberto Aguilar; Lucila Meirelles; Pichi Martinari, Julieta é Bárbara, 2011.
Mariano Marovatto, “Dia Garimpo”, Dia Garimpo, 2022.
HOMEWORK
— Please finish the creative writing exercise. Send it to me by email up to 2h before our next seminar.
— Prepare a brief presentation (5-10 min.) of your creative writing exercise for our next seminar.
(esq.) PAGU. ÁLBUM DE PAGU. 1929.
(dir.) SALETTE TAVARES. ESPELHO CEGO. 1957.
(dir.) SALETTE TAVARES. ESPELHO CEGO. 1957.
CLASS 5
PART 1: PRESENTATION OF YOUR CREATIVE WRITING EXERCISE
PART 2: NON-COMMUNICATION, ANTI-LOGOCENTRISM, AND CODIFICATION
2.1. The subtractive principle of the composition; 2.2. The erotics of interpretation. 2.3. The Reader is born, long live the Reader!; 2.4. Collaborative authorship.
PART 3: INTRODUCTION TO CONCRETE POETRY
3.1. “Plano-piloto para poesia concreta” (1958); 3.2. The poem as an intricate object; 3.3. Verbivocovisualidade; 3.4. Analysis of Edgard Braga, Ronaldo Azeredo, Augusto de Campos, and Décio Pignatari's poems.
PART 4: INTRODUCTION TO EXPERIMENTAL POETRY
4.1. PO.EX: pioneers and their first attempts; 4.2. Salette Tavares (Espelho Cego, 1957), Alexandre O’Neill (“Divertimentos com sinais ortográficos”, 1960), Abílio-José-Santos (Voo do Morcego, 1962) and António Aragão (Poema Primeiro, 1962); 4.3. António Aragão, Herberto Helder and their literary magazine: Poesia Experimental; 4.4. Analysis of Ana Hatherly, Alberto Pimenta, António Aragão, Herberto Helder, Salette Tavares, and Silvestre Pestana’s poems.
RECOMMENDED TEXTS
Ana Hatherly e E. M. de Melo e Castro (ed.), Po-Ex — Textos Teóricos de Documentos da Poesia Experimental Portuguesa, 1981.
Augusto de Campos; Haroldo de Campos; Décio Pignatari, “Plano-piloto para poesia concreta”, 1958. Available here, in Portuguese and here, in Spanish.
Bruno Ministro, “Poesia Experimental Portuguesa: Confluência, Encontro, Rede”, Materialidades da Literatura, 2019. Available here.
Claus Clüver, “Concrete Sound Poetry: Between Poetry and Music”, Cultural Functions of Intermedial Exploration, 2002.
Dick Higgins, “Pattern Poetry as Paradigm”, Poetics Today, 1989.
Fernando Aguiar e Silvestre Pestana (ed.), Poemografias — Perspectivas da Poesia Visual Portuguesa, 1985.
Gonzalo Aguilar, Poesia Concreta Brasileira: As Vanguardas na Encruzilhada Modernista, 2005.
Haroldo de Campos, “The Ex-centric’s Viewpoint: Tradition, Transcreation, Transculturation: Second thoughts: the dialectics of subaltern and overaltern literary models", Haroldo de Campos: A Dialogue with the Brazilian Poet, 2005.
José Alberto Marques e E. M. de Melo e Castro (ed.), Antologia da Poesia Concreta em Portugal, 1973.
Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media, 1991.
Roland Barthes, The Death of the Author, 1967.
Rui Torres (org.), Poesia Experimental Portuguesa. Caderno e Catálogos, 2010.
Rui Torres (org.), Poesia Experimental Porttuguesa: Contextos, Ensaios, Entrevistas, Metodologias, 2014.
Salette Tavares, Desalinho das Linhas, 2010.
Susan Sontag, “Against interpretation”, Against Interpretation and Other Essays, 1966.
HOMEWORK
— Please conclude the three infraleitura exercises made from one or more poems read in class and send them to me by email up to 2h before our next seminar.
— Create a verbivocovisual poem and send it to me by email up 2h before our next seminar.
PART 1: PRESENTATION OF YOUR CREATIVE WRITING EXERCISE
PART 2: NON-COMMUNICATION, ANTI-LOGOCENTRISM, AND CODIFICATION
2.1. The subtractive principle of the composition; 2.2. The erotics of interpretation. 2.3. The Reader is born, long live the Reader!; 2.4. Collaborative authorship.
PART 3: INTRODUCTION TO CONCRETE POETRY
3.1. “Plano-piloto para poesia concreta” (1958); 3.2. The poem as an intricate object; 3.3. Verbivocovisualidade; 3.4. Analysis of Edgard Braga, Ronaldo Azeredo, Augusto de Campos, and Décio Pignatari's poems.
PART 4: INTRODUCTION TO EXPERIMENTAL POETRY
4.1. PO.EX: pioneers and their first attempts; 4.2. Salette Tavares (Espelho Cego, 1957), Alexandre O’Neill (“Divertimentos com sinais ortográficos”, 1960), Abílio-José-Santos (Voo do Morcego, 1962) and António Aragão (Poema Primeiro, 1962); 4.3. António Aragão, Herberto Helder and their literary magazine: Poesia Experimental; 4.4. Analysis of Ana Hatherly, Alberto Pimenta, António Aragão, Herberto Helder, Salette Tavares, and Silvestre Pestana’s poems.
RECOMMENDED TEXTS
Ana Hatherly e E. M. de Melo e Castro (ed.), Po-Ex — Textos Teóricos de Documentos da Poesia Experimental Portuguesa, 1981.
Augusto de Campos; Haroldo de Campos; Décio Pignatari, “Plano-piloto para poesia concreta”, 1958. Available here, in Portuguese and here, in Spanish.
Bruno Ministro, “Poesia Experimental Portuguesa: Confluência, Encontro, Rede”, Materialidades da Literatura, 2019. Available here.
Claus Clüver, “Concrete Sound Poetry: Between Poetry and Music”, Cultural Functions of Intermedial Exploration, 2002.
Dick Higgins, “Pattern Poetry as Paradigm”, Poetics Today, 1989.
Fernando Aguiar e Silvestre Pestana (ed.), Poemografias — Perspectivas da Poesia Visual Portuguesa, 1985.
Gonzalo Aguilar, Poesia Concreta Brasileira: As Vanguardas na Encruzilhada Modernista, 2005.
Haroldo de Campos, “The Ex-centric’s Viewpoint: Tradition, Transcreation, Transculturation: Second thoughts: the dialectics of subaltern and overaltern literary models", Haroldo de Campos: A Dialogue with the Brazilian Poet, 2005.
José Alberto Marques e E. M. de Melo e Castro (ed.), Antologia da Poesia Concreta em Portugal, 1973.
Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media, 1991.
Roland Barthes, The Death of the Author, 1967.
Rui Torres (org.), Poesia Experimental Portuguesa. Caderno e Catálogos, 2010.
Rui Torres (org.), Poesia Experimental Porttuguesa: Contextos, Ensaios, Entrevistas, Metodologias, 2014.
Salette Tavares, Desalinho das Linhas, 2010.
Susan Sontag, “Against interpretation”, Against Interpretation and Other Essays, 1966.
HOMEWORK
— Please conclude the three infraleitura exercises made from one or more poems read in class and send them to me by email up to 2h before our next seminar.
— Create a verbivocovisual poem and send it to me by email up 2h before our next seminar.
(esq.) EDGARD BRAGA. VOCÁBULO. SÉRIE TATUAGENS. 1966.
(dir.) HERBERTO HELDER. ASCENSÃO DOS HIPÓPOTAMOS. 1965.
(dir.) HERBERTO HELDER. ASCENSÃO DOS HIPÓPOTAMOS. 1965.
CLASS 6
PART 1: PRESENTATION OF THE EXERCISES OF INFRALEITURA + VERBIVOCOVISUAL POEMS
PART 2: AUGUSTO DE CAMPOS, 5 DECADES OF PRODUCTION
2.1. The philosophy of NÃO; 2.2. NÃO = Ars Poetica; 2.3. The political concrete poem; 2.4. The criptogramatic concrete poem.
PART 3: ANA HATHERLY, 5 DECADES OF PRODUCTION
3.1. Baroque poetry and the history of visual poetry (A Experiência do Prodígio, 1983 -- O Ladrão Cristalino, 1997 -- Claro-Escuro, 1988); 3.2. Re-signified hands; 3.3. Words, calligraphy, and textual collages.
PART 4: SCREENING OF REVOLUÇÃO (1976) BY ANA HATHERLY
In this short film Hatherly registers the excitement and spirit of freedom experienced on the streets of Lisbon after the Carnation Revolution, offering a plastic, sensorial and emotionally charged experience of this important moment in Portuguese history through the representation of streets, murals and graffiti.
PART 5: EXERCISES OF INFRALEITURA
[made from a selection of Augusto de Campos & Ana Hatherly’s poems]
RECOMMENDED TEXTS
Ana Hatherly, Poesia: 1958-1978, 1980.
Ana Hatherly, 463 Tisanas, 2006.
Ana Marques Gastão, Ana Hatherly Plurinímica e Outros Ensaios, 2023.
Augusto de Campos, Verso, Reverso, Controverso, 2009.
Augusto de Campos, Poesia da Recusa, 2011.
Augusto de Campos, Viva Vaia. Poesia 1949-1979, 2014.
Augusto de Campos, Poesia Antipoesia Antropofagia & Cia., 2015.
Augusto de Campos; Haroldo de Campos; Décio Pignatari, “Plano-piloto para poesia concreta”, 1958. Available here, in Portuguese and here, in Spanish.
HOMEWORK
— Please work on a final essay proposal and send it to me by email up 2h before our next seminar.
ANA HATHERLY. REVOLUÇÃO. 1976. TRAILER.
CLASS 7
PART 1: REFLECTIONS AND DEBATE ON THE EXERCISES OF INFRALEITURA
PART 2: EXPANDED POETRY ON SOCIAL MEDIA
2.1. @poetamenos; 2.2. Instagram’s impact on form; 2.3. The concrete poem on Instagram.
PART 3: GHETTOPOEM # THE MASSES
3.1. Far-right political movements and the use of social media; 3.2. Political expanded poems and the use of social media; 3.2. Useful and necessary contradictions; 3.3. Analysis of “Bolsogramas”.
RECOMMENDED TEXTS
Azade E. Kakavand, “Far-Right Social Media Communication in the Light of Technology Affordances: A Systematic Literature Review”, Annals of the International Communication Association, 2023.
Ben Lerner, The Hatred of Poetry, 2016.
Camilla Holm Soelseth, “When is a Poet an Instapoet?: The effect of platformization on the practice of being a poet, and instapoets as examples of poetry content creators in the Social Media Entertainment ecosystem”, Baltic Screen Media Review, 2022.
Maia Decker, “Yale poets, experts weigh in on relationship between social media, poetry”, Yale News, 2021.
Michael Clune, “The Hatred of Poetry: An Interview with Ben Lerner”, The Paris Review, 2016.
HOMEWORK
— Students must create a collective Instagram account. Each student must publish a poem on the same account.
The form of the poem must adapt to the formal characteristics of the aforementioned online platform.
CLASS 8
PART 1: PRESENTATION OF THE COLLECTIVE INSTAGRAM ACCOUNT CREATED BY STUDENTS
PART 2: INTRODUCTION TO NEOCONCRETISM
2.1. The material body; 2.2. Co-authorship; 2.3. Corporeal reading.
PART 3: LYGIA CLARK'S BODY WITHOUT ORGANS
3.1. Relational objects; 3.2. Performance and the return to the womb; 3.3. Therapeutical performance.
PART 4: FERREIRA GULLAR'S THREE-DIMENSIONAL POEMS
4.1. "Teoria do não-objeto"; 4.2. Livro-poema; 4.3. The three-dimensional poems; 4.4. The spatial poem.
PART 5: AFTER GULLAR: THE COLLABORATIVE POEM-OBJECT
5.1. Analysis of Osmar Dillon, Neide de Sá, Nicanor Parra, Joan Brossa, and Lenora de Barros’ works.
RECOMMENDED TEXTS
Paul Zumthor, Performance, Recepção, Leitura, 2014.
Vári_s autor_s, Poesia Neoconcreta, org.: Luiz Guilherme Ribeiro Barbosa, Renato Rezende, Sergio Cohn, 2021.
HOMEWORK
— Create a three-dimensional or performative poem and send it to me by email up 2h before our next seminar.
— Select one of the debated works of Lygia Clark, write a comment (minimum 2 pages) about it, and send it to me by email up 2h before our next seminar.
(esq.) LYGIA CLARK. MÁSCARA ABISMO. 1968.
(dir.) HELENA ALMEIDA. PINTURA HABITADA. 1974.
(dir.) HELENA ALMEIDA. PINTURA HABITADA. 1974.
CLASS 9
PART 1: PRESENTATION OF THE THREE-DIMENSIONAL AND PERFORMATIVE POEMS
PART 2: SOCIEDADE DE BELAS ARTES DE LISBOA: POETIC PROTOPERFORMANCES
2.1. Concerto e Audição Pictórica (1965): António Aragão, Clotilde Rosa, E. M. de Melo e Castro, Manuel Batista, Jorge Peixinho, Mário Falcão e Salette Tavares; 2.2. Música Negativa (1965-1977): E. M. de Melo e Castro.
PART 3: POETIC PERFORMANCE AND GENDER: ANA HATHERLY, HELENA ALMEIDA, EMÍLIA NADAL
3.1. Analysis of Rotura (1977) by Ana Hatherly; 3.2. Estudo para um enriquecimento interior (1977) by Helena Almeida; 3.3. Screening and analysis of Proibido não ver: Episódios — Performance de Emília Nadal (1979) by Ana Hatherly.
PART 4: UNI-VERSO PRO-LIXO
4.1. Alberto Pimenta: Homo sapiens (1977), Heterofonia (1979), A visita do Papa (1982), Um enlace feliz (1990). 4.2. Alberto Pimenta + Edgar Pêra: Fiquem Qom a Qultura, eu fiko kom o Brazil (2002), O Homem Pykante (2018).
O poético é uma forma profundamente artificial. Tudo o que nos interessa vai ter ao primeiro conceito de poesia e à primeira poesia de todas, porque a primeira poesia de todas, se formos a Homero, é uma fronteira tão delicada entre discurso, sentido, logos e ritmo, música. [Ela] só faz sentido nessa fronteira em que o ritmo é determinante, é mais determinante que a gramática, porque a estrutura é anterior à linguagem.
Alberto Pimenta
RECOMMENDED TEXTS
Cláudia Madeira, Arte da Performance, Made in Portugal. Uma Aproximação à(s) História(s) da Arte da Performance Portuguesa, 2020.
Lúcia Liberato Evangelista, Alberto Pimenta: Poesia, Performance, Profanação, 2023.
Paul Zumthor, Performance, Recepção, Leitura, 2014.
HOMEWORK
— Create a three-dimensional or performative response to one of the three-dimensional or performative poems presented by your colleagues and send it to me by email up 2h before our next seminar.
PART 1: PRESENTATION OF THE THREE-DIMENSIONAL AND PERFORMATIVE POEMS
PART 2: SOCIEDADE DE BELAS ARTES DE LISBOA: POETIC PROTOPERFORMANCES
2.1. Concerto e Audição Pictórica (1965): António Aragão, Clotilde Rosa, E. M. de Melo e Castro, Manuel Batista, Jorge Peixinho, Mário Falcão e Salette Tavares; 2.2. Música Negativa (1965-1977): E. M. de Melo e Castro.
PART 3: POETIC PERFORMANCE AND GENDER: ANA HATHERLY, HELENA ALMEIDA, EMÍLIA NADAL
3.1. Analysis of Rotura (1977) by Ana Hatherly; 3.2. Estudo para um enriquecimento interior (1977) by Helena Almeida; 3.3. Screening and analysis of Proibido não ver: Episódios — Performance de Emília Nadal (1979) by Ana Hatherly.
PART 4: UNI-VERSO PRO-LIXO
4.1. Alberto Pimenta: Homo sapiens (1977), Heterofonia (1979), A visita do Papa (1982), Um enlace feliz (1990). 4.2. Alberto Pimenta + Edgar Pêra: Fiquem Qom a Qultura, eu fiko kom o Brazil (2002), O Homem Pykante (2018).
O poético é uma forma profundamente artificial. Tudo o que nos interessa vai ter ao primeiro conceito de poesia e à primeira poesia de todas, porque a primeira poesia de todas, se formos a Homero, é uma fronteira tão delicada entre discurso, sentido, logos e ritmo, música. [Ela] só faz sentido nessa fronteira em que o ritmo é determinante, é mais determinante que a gramática, porque a estrutura é anterior à linguagem.
Alberto Pimenta
RECOMMENDED TEXTS
Cláudia Madeira, Arte da Performance, Made in Portugal. Uma Aproximação à(s) História(s) da Arte da Performance Portuguesa, 2020.
Lúcia Liberato Evangelista, Alberto Pimenta: Poesia, Performance, Profanação, 2023.
Paul Zumthor, Performance, Recepção, Leitura, 2014.
HOMEWORK
— Create a three-dimensional or performative response to one of the three-dimensional or performative poems presented by your colleagues and send it to me by email up 2h before our next seminar.
E. M. DE MELO E CASTRO. MÚSICA NEGATIVA. 1965-1977.
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(esq.) LUÍS ALVES DE MATOS. A MÃO INTELIGENTE. 2002.
(dir.) EDGAR PÊRA. HOMEM PYKANTE. 2018.
CLASS 10
PART 2: INTRODUCTION TO POEMA/PROCESSO
PART 3: A AVE BY WLADEMIR DIAS-PINO
PART 4: TWO MANIFESTATIONS OF POEMA/PROCESSO
3.1. Poemas/processo in comics; 3.2. The enemies of poetry: "Rasga-rasga", Arte no Aterro, screening of Apocalipopótese (1969) by Raymundo Amado, Pirapora, Feira de Arte de Recife; 3.3. Eatable poems (Edgardo Antonio Vigo, Anna Bella Geiger, Artur Barrio, Bartolomé Ferrando, Grupo Escombros); 3.4. Poesia viva (Paulo Bruscky, Unhandeijara Lisboa, Luis Pazos, Letícia Parente, Ivald Granato & Ulises Carrión, Lenora de Barros, Bartolomé Ferrando).
PART 5: THE PERFORMATIVE POEMS OF NEIDE DE SÁ
5.1. Visuality and de-codification; 5.2. Space, fragmentation, and performance; 5.3. The end of the alphabet is the ludotherapeutic poem.
RECOMMENDED TEXTS
Gustavo Nóbrega, Poema/Processo: Uma Vanguarda Semiológica, 2017.
Mário Margutti, Do Poema Visual ao Objeto-Poema. A Trajetória de Neide Sá, 2014.
Paulo Ramos, A Leitura dos Quadrinhos, 2010.
Wlademir Dias-Pino, Processo: Linguagem e Comunicação, 1975.
HOMEWORK
— Create a non-verbal, eatable, or corporeal poem and send it to me by email up 2h before our next seminar.
MANIFESTANTES DO POEMA/PROCESSO SEGURAM CARTAZES NO CENTRO DO RIO. 1968. [FOTOGRAFIA: JACOB/CPDoc JB.]
CLASS 11
PART 1: PRESENTATION OF THE PERFORMATIVE POEMS
PART 2: RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
2.1. Lenora de Barros (1953-); 2.2. Leonilson (1957-1993); 2.3. Arnaldo Antunes (1960-); 2.4. Ricardo Aleixo (1960-); 2.5. Eduardo Kac (1962-).
RECOMMENDED TEXTS AND LINKS
Arnaldo Antunes, Como é que Chama o Nome Disso, 2006.
Eduardo Kac's website: https://www.ekac.org/.
Lenora de Barros, Relivro, 2011.
Mariana Baltazar, Escrever Leonilson: Expansão da Poesia, 2022.
HOMEWORK
— Select a work of one of the analyzed authors, write a comment (3 pages minimum) on the same work, and send it to me up 2h before our next seminar.
PART 1: PRESENTATION OF THE PERFORMATIVE POEMS
PART 2: RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
2.1. Lenora de Barros (1953-); 2.2. Leonilson (1957-1993); 2.3. Arnaldo Antunes (1960-); 2.4. Ricardo Aleixo (1960-); 2.5. Eduardo Kac (1962-).
RECOMMENDED TEXTS AND LINKS
Arnaldo Antunes, Como é que Chama o Nome Disso, 2006.
Eduardo Kac's website: https://www.ekac.org/.
Lenora de Barros, Relivro, 2011.
Mariana Baltazar, Escrever Leonilson: Expansão da Poesia, 2022.
HOMEWORK
— Select a work of one of the analyzed authors, write a comment (3 pages minimum) on the same work, and send it to me up 2h before our next seminar.
(esq.) LENORA DE BARROS. POEMA. 1979.
(dir.) EDUARDO KAC. PORNEIA. 2022.
(dir.) EDUARDO KAC. PORNEIA. 2022.
CLASS 12
PART 1: RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
1.1. André Vallias (1963-); 1.2. Aline Motta (1974-); 1.3. (Daniel Minchoni, 1980-); 1.4. Luiza Romão (1992-).
RECOMMENDED TEXTS AND LINKS
Aline Motta, A Água é uma Máquina do Tempo, 2023.
Aline Motta’s website: https://alinemotta.com/.
André Vallias' website: https://www.andrevallias.com/.
Annie McNeill Gibson, “Between the Poet and the Clown: The Poetic Persona of Daniel Minchoni”, Contemporary Brazilian Cities, Cultures, and Resistance, 2022.
Luiza Romão, Sangria, 2017.
HOMEWORK
— Select a work of one of the analyzed authors, write a comment (3 pages minimum) on the same work, and send it to me up 2h before our next seminar.
PART 1: RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
1.1. André Vallias (1963-); 1.2. Aline Motta (1974-); 1.3. (Daniel Minchoni, 1980-); 1.4. Luiza Romão (1992-).
RECOMMENDED TEXTS AND LINKS
Aline Motta, A Água é uma Máquina do Tempo, 2023.
Aline Motta’s website: https://alinemotta.com/.
André Vallias' website: https://www.andrevallias.com/.
Annie McNeill Gibson, “Between the Poet and the Clown: The Poetic Persona of Daniel Minchoni”, Contemporary Brazilian Cities, Cultures, and Resistance, 2022.
Luiza Romão, Sangria, 2017.
HOMEWORK
— Select a work of one of the analyzed authors, write a comment (3 pages minimum) on the same work, and send it to me up 2h before our next seminar.
ALINE MOTTA. (OUTROS) FUNDAMENTOS. 2017-19.
CLASS 13
PART 1: GENERAL OVERVIEW
PART 2: RECENT MANIFESTATIONS OF THE EXPANDED PORTUGUESE POEM
2.1. Fernando Aguiar (1956-); 2.2. Teresa M. G. Jardim (1960-); Ricardo Tiago Moura (1978-); Biru (1980-); Marta Bernardes (1983-).
RECOMMENDED TEXTS
Alexandre Francisco Diaphra, The Blackbook of the Beats, 2015.
Marta Bernardes, Ulises, 2013.
Marta Bernades, Ícaro, 2016.
Patrícia Lino, “Concret_s como frutos, nítid_s como pássaros (III): Poesia expandida”, escamandro, 2021.
PO.EX Digital Archive. “8 Artist’s Books by Fernando Aguiar”, 2022.
Ricardo Tiago Moura, Controlo de Qualidade, 2017.
Ricardo Tiago Moura, Política [um resumo], 2017.
Teresa M. G. Jardim, Jogos Radicais, 2010.
HOMEWORK
— Please focus on the presentation of your final paper.
PART 1: GENERAL OVERVIEW
PART 2: RECENT MANIFESTATIONS OF THE EXPANDED PORTUGUESE POEM
2.1. Fernando Aguiar (1956-); 2.2. Teresa M. G. Jardim (1960-); Ricardo Tiago Moura (1978-); Biru (1980-); Marta Bernardes (1983-).
RECOMMENDED TEXTS
Alexandre Francisco Diaphra, The Blackbook of the Beats, 2015.
Marta Bernardes, Ulises, 2013.
Marta Bernades, Ícaro, 2016.
Patrícia Lino, “Concret_s como frutos, nítid_s como pássaros (III): Poesia expandida”, escamandro, 2021.
PO.EX Digital Archive. “8 Artist’s Books by Fernando Aguiar”, 2022.
Ricardo Tiago Moura, Controlo de Qualidade, 2017.
Ricardo Tiago Moura, Política [um resumo], 2017.
Teresa M. G. Jardim, Jogos Radicais, 2010.
HOMEWORK
— Please focus on the presentation of your final paper.
TATIANA LOHMANN E ROBERTA ESTRELA D'ALVA. BIRU EM CENA DE SLAM — VOZ DE LEVANTE. 2020.
CLASS 14
FINAL PAPER PRESENTATIONS + HAPPY HOUR
Course materials
All course materials will be available online.
Grading and Assignments
50% Response papers and activities
50% Final paper
100% Total
Grading Scale
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-80); C (73-77); C- (70- 72); D+ (68-70); D (63-67); F (63 and below)
Response papers, Presentation, and Final paper
Response papers and the final paper can be written in English, Portuguese, or Spanish. Presentations will be in English.
Final Paper
At the end of the quarter, students will be required to write a broader, more cumulative essay that draws on and compares artistic productions we have studied throughout the quarter. It should be a topic that allows you to relate the film(s) to larger issues involving the Afro-Luso-Brazilian cultural world. The final paper should be 10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [TBA] in WORD format by TBA.
Attendance and participation
The course will be conducted as a student-centered seminar, in which students are expected to attend class sessions prepared to contribute to discussions. This means students are expected to complete weekly reading assignments on time. In-class participation, although somewhat subjective, is based upon your response to questions, your willingness to fully engage yourself in the task at hand, and your shown interest towards the subject matter. Above all, the key to be able to participate successfully is preparation. Students are expected to come to class with ideas and questions about the readings and films. Class participation will count significantly towards the final grade. Since we meet only twice a week, after 3 unexcused absences, the participation grade will be deduced (1 point) each time the student misses class. Moreover, students are accountable for all work missed because of an absence.
Oral presentations
Individual oral presentations (10-15 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.