Author(s): Parente, Ana Rita Ramos, 1991-
Date: 2017
Persistent ID: http://hdl.handle.net/10451/27816
Origin: Repositório da Universidade de Lisboa
Subject(s): Moraes, Vinicius de, 1913-1980; Poesia brasileira - séc.20; Ilustração; Desenho; Soneto; Mulher; Desenho
The purpose of this project is to illustrate the Woman figure as descibed in Vinícius de Moraes’s sonnets. We begin by conducting a vast reading of the Brazilian poet’s work, of which a total of sixteen sonnets were selected. Within this selection, we were able to witness the role played by the female character in said work. This study begins with the analysis of the circumstances that led the poet to dedicate such a particular attention to women as subjects of passion and as a theme in writing. At this stage of the investigation, we also proceed to assess how valuable the sonnet is in the context of a Work that includes a wide variety of poetic and lyric forms such as Moraes’s. Once the results of this research are settled, we proceed to defending the interpretive hypothesis behind the concept of this project. It is suggested, according to what is taken from the reading process, that the presence of the female figure is established through four elements that metaphorically represent Woman: the Heart, the Moon, the Sea and the Rose. These are the protagonist of the practical development that took place thereafter, in which each of the elements is associated with and invariable image and drawn time and time again, in a logic of production in series. At this point, the drawings become emancipated from Vinicius de Moraes’s work, but soon after they are reunited in the graphic production entitled 4433: from Word to Drawing – the Female Figure in the sonnets by Vinicius de Moraes. This particular moment of the project involved articulating the drawings and the sonnets originally selected in order to create a book prototype where the dialogue between the brush strokes and words which inspired them is maximised. This perspective, both on drawing and on the work of Viniciuis de Moraes, allows space for contemplation on the evolutive capabilities of the graphic expression of the particular set of tools and material used. We were also able to reflect on the matter of how inevitably subjective a graphic interpretation of a literary work can be
