A encenação do ato de pintar em Courbet: l atelier du peintre
This paper aims to discuss intermedial references in Courbet: L'Atelier du peintre [Courbet: The Painter's Studio], a work published by Marianne Nahon, under the light of intermedial studies. With text and illustrations by the artist Charles Matton, the book is configured as a complex inte...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/56886 |
| Acceso en línea: | http://dx.doi.org/10.35572/rlr.v9i3.1827 http://hdl.handle.net/1843/56886 https://orcid.org/0000-0001-8690-6900 |
| Access Level: | acceso abierto |
| Palabra clave: | Gustave Courbet Marianne Nahon Pintura Teatro Referências intermidiáticas Quadro-vivo Arte e literatura Teatro (Literatura) |
| Sumario: | This paper aims to discuss intermedial references in Courbet: L'Atelier du peintre [Courbet: The Painter's Studio], a work published by Marianne Nahon, under the light of intermedial studies. With text and illustrations by the artist Charles Matton, the book is configured as a complex intermedial object composed by all the three categories proposed by Irina Rajewsky: media combination, medial transposition and intermidial references, which happens to be the main focus of this study. The theoretical framework also relies on the studies of Walter Moser about the relations between arts and their medialities. Our goal is to identify these references – especially regarding painting and theater – in order to evaluate their role, through narrative descriptions, in the process of construction of literary tableaux vivants that centrally stage the act of painting. |
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