Pub Date : 1900-01-01DOI: 10.21747/978-989-54784-9-1/lib27a5
Ágnes Tóth
Maurice Carême (1899–1978) was a Belgian francophone poet. We present revisiting the appreciation that is sometimes assigned to a « poet of images » to deepen that « above all visual » of a poet who writes « with the gifts of observation » (Moremans 1930 : 19), and gives, in his poetic intuition, a content to see. The visual, in symbiosis with the tangible, manifests itself in the work of Maurice Carême through the fascination with the gestures of graphic, pictorial and even sculptural production. The passion for the imprints left by these gestures is expressed by the presence of a pictorial isotopy, by the frequent recurrence of words such as trace, draw, paint, sketch, model and other terms belonging to the same semantic field, as well as by the use of the presentative « there ». In this synthetic designation, the poet sums up, in a simulation of gestures und unique denomination, the landscape and its outlines. Explicitly referring to pictorial techniques is one of the most visible processes these expressions are part of a network of visual patterns that relate both to the gestures of writing and painting. This leads to anchoring in the reader the impression of visual poetry
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Pub Date : 1900-01-01DOI: 10.21747/978-989-54784-9-1/lib27a4
Edit Bors
In order to capture their readers’ attention, micro-fictions integrate implicit and allusive meanings, among other things, into the adopted tone, the chosen narrative structure or the generic hybridation. Their reception is also determined by limited special conditions: in a short time and in few words, micro-fiction have an effect or remains absolutely imperceptible. Some of the stories are not only enjoyable to read but also push the reader to reflect on his reading skills.
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Pub Date : 1900-01-01DOI: 10.21747/978-989-54784-9-1/lib27a7
Maria de Fátima Outeirinho
: In the context of a digital culture, this brief reflection involves considering a complexification of reading practices and a possible reconfiguration of the field of critical reception through the phenomenon of booktubing and the figure of the booktuber, a mediatorreviewer. It is important to consider the not insignificant role of this actor with regard to a social reading, by going beyond questions of legitimacy regarding the exercise of the critical activity and questions of hierarchy between scholarly reading practices and practices of ordinary reading.
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Pub Date : 1900-01-01DOI: 10.21747/978-989-54784-9-1/lib27a2
C. Cordeiro
First examined from the point of view of economics, Literature is part of the bookindustry, the words “production” and “consumption” defining the relationship between the authors (assisted by publishers, printers, booksellers…), and the readers, whose pleasure is the final cause of the trade. But if we limit our outlook to the book in itself, it is still legitimate, considering for instance the “economy” of a narrative or of a poem, to speak of the management of the pleasure of reading, which runs from incitation to orgasm, as in a psychoanalysis of fire. It remains to ask if the sexual model may be pertinently applied to the type of gratification derived from reading. Should not we, instead, resort to the concept of sublimation to better understand reading as it is praised by Society in its valorization of socially useful activities?
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Pub Date : 1900-01-01DOI: 10.21747/978-989-54784-9-1/lib27a6
Ana Paula Coutinho
There have never been so many books published (including literature), but the number of readers is far from increasing in the same proportion. Apparently, digital invasion in contemporary life imposed the end of the book, at least as we know it since Gutenberg, which does not necessarily mean the end of literary writing and reading, but rather their mutation, particularly accelerated. The work of François Bon, author, among others, of the Après le Livre (Seuil, 2011) and La Société des Amis de L’Ancienne Littérature (2020) essays, both born within his digital platform - www. tierslivre.net -, are the center of my article, which intends to highlight the proposals of this multimode author, because they represent the foundation of a linked literary writing-reading in digital age, as well theirs challenges to « the pleasure of the text », in order to a « rebirth » of the book as a multisensory composition of a widening distance from the world.
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