Poemics: poems and comics

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dc.creatorAmir Brito Cadôr
dc.date.accessioned2023-08-07T14:02:02Z
dc.date.accessioned2025-09-08T23:11:04Z
dc.date.available2023-08-07T14:02:02Z
dc.date.issued2020
dc.format.mimetypepdf
dc.identifier.issn1404-5095
dc.identifier.urihttps://hdl.handle.net/1843/57520
dc.languageeng
dc.publisherUniversidade Federal de Minas Gerais
dc.relation.ispartofOEI
dc.rightsAcesso Restrito
dc.subjectHistórias em quadrinhos
dc.subjectPoesia visual
dc.subjectLivros de artistas
dc.subject.otherPoema-processo
dc.subject.otherPoesia visual
dc.subject.otherHistória em quadrinhos
dc.titlePoemics: poems and comics
dc.typeArtigo de periódico
local.citation.epage289
local.citation.spage285
local.citation.volume88-89
local.description.resumoIn the mid-1960s, comic art went through a reassessment and had a scrupulous semiotic investigation, getting attention from theorists such as Umberto Eco and others. Brazilian Poema/Processo movement, since the beginning, kept a close contact to the comics, which appear in different ways in their poems and books. The idea was to use mass culture images as a way to produce content that could be easier to circulate, even among people with a lower formal education. In their 1967 manifesto, poets claim the Poema/Processo as “a poem to be seen and without words”. In an interview with João Felício dos Santos, the poet Wlademir Dias-Pino states: “the true role of the poet is to transform the poem into mass culture. This is the actual enrichment of people’s media”.
local.identifier.orcidhttps://orcid.org/0000-0001-9471-3607
local.publisher.countryBrasil
local.publisher.departmentEBA - DEPARTAMENTO DE DESENHO
local.publisher.initialsUFMG
local.url.externahttps://oei.nu/w/3.html

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