Abstract

Borrowing the notion of “projet d’ensemble” from Roland Barthes’s Critique et verité, this essay proposes a critical analysis of Adília Lopes’s Bandolim (2016). Two of the procedures that configure the book’s interior are outlined on the cover: text as sound and text as image. The metaphor of the mandolin and its performative demands relates to Eliot’s ideas about tradition and individuality and describes Lopes’s approach to poetry. Through a close reading of poems in the collection, I argue that Bandolim performs on the infinity of unity while representing the unity of infinity.

Highlights

  • Borrowing the notion of “projet d’ensemble” from Roland Barthes’s Critique et verité, this essay proposes a critical analysis of Adília Lopes’s Bandolim (2016)

  • Embora o facto não tenha a devida menção editorial, a autoria de Adília Lopes reforça o carácter intencional do desenho enquanto gesto de representação do livro

  • É claro que certos traços são estruturais e comuns a todos os bandolins: em particular, os que lhe conferem o timbre característico

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Summary

Introduction

Borrowing the notion of “projet d’ensemble” from Roland Barthes’s Critique et verité, this essay proposes a critical analysis of Adília Lopes’s Bandolim (2016). Tal não exclui a possibilidade de referência aos irmãos de Bandolim, ou, na verdade, a seja o que for: mesmo porque Bandolim é constitutivamente citacional e situacional, invocando com regularidade o exterior para o interior do livro.

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