In this article, we will address the interest of literary critic Leyla Perrone-Mois & eacute;s in rhetoric, in its multiple dimensions. Firstly, identifying the way she refers to this field of knowledge in her books, especially in her works dedicated to Raul Pomp & eacute;ia and Lautr & eacute;amont, namely, O ateneu, ret & oacute;rica e paix & atilde;o (1988) and Lautr & eacute;amont Austral (2014). Secondly, showing how she herself makes use of notions inherited from rhetoric-inventio, dispositio, and elocutio-even if not explicitly named, to analyze the work of one of her most important subjects, the French literary critic Roland Barthes. Finally, based on a specific corpus (her texts on Barthes), we try to understand what Leyla's own rhetoric would be: her themes, her textual organization, and her figures, and what effects they provoke in the reader of her articles.
Contemporary Brazilian poetry has proven itself to be conducive to exploring dialogues between different forms of artistic expression, especially regarding the intersection of the verbal and the visual. This article, therefore, investigates the inter-medial relationships between poetry and photography in the book Cinel & acirc;ndia (2021), by Rio de Janeiro-based poet and visual artist Leila Danziger. To this end, grounded in intermediality studies (Rajewsky, 2005; 2020), this analysis aims to discuss how the dialogue between text and image contributes to the construction of meanings about urban space in Danziger's poetry. Based on the critical analyses and the proposed theoretical discussion, we conclude that, in Cinel & acirc;ndia, photography plays an essential role, not only as a visual record but also as a critical element, tensioning the processes of memory, monumentality, and the city's everyday life. Furthermore, interactions between media broaden perceptions of urban space, highlighting the complex relationships between history, culture, and everyday life. The proposed reflections indicate that Danziger uses photography to de-automatize the way we view urban space by recording the interaction between individuals and the city. In this way, Cinel & acirc;ndia has constructed a poetics that frequently dissolves boundaries between media, resulting in an innovative and aesthetic approach that highlights the interplay between poetry and image.
This paper proposes a reflection on the poem as a palimpsestic body in tatiana nascimento's book palavra preta (2021). The book begins with a three-verse poem and takes shape with poems invading and surpassing the limits of the pages, suggesting multiple ways of reading the word-image that destabilizes traditional notions of composing poetry. Thus, we propose the palimpsest-body as a key to reading palavra preta, a body that emerges in the affectionate and safe territory of cuirlombism, and that evokes the presence of a polyphonic lyrical voice. The materialization of this territory and the presence of a poetic "we" is observed in the reading of two poems, making us pay attention to the stylistic erasures of new writings in motion.
This text proposes a reflection based on Variations on saudade by the Portuguese author Patricia Lino, a work in progress begun in 2021, considering within it the manifestation of postures of dismantling, erasing and deconstructing lyrical objects through the exercise of varying them and their subsequent repositioning in renewed configurations, in what is calibrated as a game of tension and fracture of form. Thus, the reading of this work is pursued following this intimate articulation between cutting, transfer and rewriting or repositioning and, in a broader aftermath, silence and homage, radical manifestations of a tense relationship with poetic discourse.
Corte e costura, by Marina Gaspar, is structured through the logic of the fragment. Each poem operates as a "cut" - a gesture that interrupts linearity and reveals an isolated, autonomous memory, almost like scattered scraps. At the same time, these fragments establish a "sewing": an effort to mend experiences, stitch together memories, and produce meaning from what endures. The book thus constructs a poetics of discontinuity, in which remembering and narrating entail negotiating what can or cannot enter the fabric of expression. Throughout the work, sewing and writing become parallel gestures: both involve tearing, mending, reconstructing, and inscribing new possibilities of existence. The instability of the poems - their fragmentation, ruptures, and silences - reflects the instability of the analytical categories within contemporary feminism itself. In this sense, the work suggests that, like fabric, memory and knowledge are also composed of gaps, repairs, and overlaps. What interests me in this study, therefore, is the poetic construction of Marina Gaspar's work: how cutting, threads, and knots - gestures of sewing - emerge as discursive procedures for the reworking of memory and the construction of the archive; how these procedures may be read within a broader context, considering the relationships they establish across different temporalities; and finally, to what extent the approximation between sewing and text can be understood as productive for the construction of a feminist epistemology.
