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The book for childhood: critical-aesthetic perspectives between literature and interarts

Grant number: 18/10575-4
Support type:Scholarships in Brazil - Doctorate
Effective date (Start): September 01, 2018
Effective date (End): August 31, 2021
Field of knowledge:Linguistics, Literature and Arts - Literature
Principal researcher:Elizabeth da Penha Cardoso
Grantee:Luis Carlos Barroso de Sousa Girão
Home Institution: Faculdade de Filosofia, Comunicação, Letras e Artes. Pontifícia Universidade Católica de São Paulo (PUC-SP). São Paulo , SP, Brazil

Abstract

The present project aims to promote a theoretical re-positioning of the critics confronting the aesthetic that has been established as production of the book as an object, by visual artists, in Children's Literature. The purpose of this proposal is to contribute with studies in theory and literary criticism by reflecting on other possibilities while confronting critical-aesthetically this production in hybrid languages. The selected corpus - formed by Alice in Wonderland (2002), by Suzy Lee; A Cloud (2007), by Katsumi Komagata; and Bili com limão verde na mão (2009), by Décio Pignatari - is exemplary of the sensorial experiences with the language addressed to the children, taking into account not only the meanings in verbal and visual texts, but also the materiality of the book as an object. In this context, we're questioning if the theories in the area of Children's Literature are sufficient to help us to think critically about the book for childhood produced by visual artists and we're asking what would be the aspects from these theories to be expanded, revised, overcomed. Our hypotheses comes from the idea that well-known studies dedicated to the word-image relationships (Nodelman, Nikolajeva, Linden) are insufficient to support an enlarged look that sees and reads these experimental works and that a multidisciplinary approach is the most effective way to explore the language experiences provided by these objects. In this sense, we're proposing to look for: concepts in the philosophy of language (Benjamin, Agamben, Didi-Huberman) to leverage other critical perspectives on these experiences; in the studies of the book as an object (Drucker, Plaza) inferences to re-dispose the codex as an art form; in theories of art (Flusser, Huchet) instruments to re-think the term image as an artistic inscription; in theories of perception (Santaella, Ferrara) elements to look at such re-configurations of the sensitive.

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