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class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/92960304/O_corpo_continua_a_monte_e_a_assombrar_Um_tributo_a_Georg_B%C3%BCchner"><img alt="Research paper thumbnail of O corpo continua a monte e a assombrar: Um tributo a Georg Büchner" class="work-thumbnail" src="https://attachments.academia-assets.com/95830874/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/92960304/O_corpo_continua_a_monte_e_a_assombrar_Um_tributo_a_Georg_B%C3%BCchner">O corpo continua a monte e a assombrar: Um tributo a Georg Büchner</a></div><div class="wp-workCard_item"><span>Sinais de cena</span><span>, 2016</span></div><div class="wp-workCard_item wp-workCard--actions"><span 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Colours: Perception, Translation and Representation</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The essays collected into this volume are organized into five interrelated sections exploring dis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The essays collected into this volume are organized into five interrelated sections exploring discourse on the interaction between sensation, perceptions of colour and the various forms of their cultural representation. 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Vai-se, está-se e volta-se na esperança de que o tempo de espera até à próxima partida nos traga a redenção de que aquilo que nos move mora dentro de nós e coincide com uma realidade que é ao mesmo tempo interior e exterior. Somos largados mundo fora, tantas vezes mundo dentro, com uma força e um arrebatamento tais que, ao desapossarmo-nos da segurança de um viver linear e rotineiro, recebemos o consolo libertador de que estar com outros em lugares próximos ou distantes, tantas vezes em lugar nenhum, porque ele é a nossa construção, descobrimos um prazer que atravessa todos os nossos órgãos até ao arrepio extáctico. A obra Viagens de Longo Curso – Roteiros e Mapeações faz o cruzamento de histórias contadas por pessoas que se conhecem e estimam há muito tempo, e que se foram destinando a muitos lugares. 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[de] Anabela Me...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Qual o tempo e o movimento de uma elipse? : estudos sobre Aby M. Warburg / coord. [de] Anabela Mendes… [et al.]. -Lisboa : Universidade Católica Editora, 2012. -276 p. ; 23 cm ( Estudos de comunicação e cultura. Translating Europe across the ages ) ISBN 978-972-54-0348-8 I -MENDES, Anabela, coord. II -Col. CDU 7 Warburg, Aby M. 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Warburg</a></div><div class="wp-workCard_item"><span>Dramaturgias</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Não é o olhar sobre os vestígios do que já foi mas o olhar sobre o que está a ser que leva Wassil...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Não é o olhar sobre os vestígios do que já foi mas o olhar sobre o que está a ser que leva Wassily Kandinsky a visitar camponeses em Vologda, no ano 1889, e Aby M. Warburg a procurar o lugar dos índios Pueblo no Novo México em 1895. Ambos são parte de uma mesma época. Cada um por si transporta uma genética própria como expressão de uma herança cultural europeia comum, mar- cada também, e apesar disso, pela convivência com diferentes tradições religiosas. Estão os dois a ocidente e deslocam-se: o primeiro para o norte da Rússia, o segundo em direcção ao sul dos EUA. De que vão à procura? O que anima o deslocamento de cada um a lugares onde se habita numa conformidade autêntica com os elementos e a natureza? O que os move em direcção ao que podendo ser diferente está a ser, mesmo que radicado em vestígios que a passagem do tempo não eliminou? Como um quase, isto é, deixando sempre de fora mais do que conscientemente deseja- riam, Wassily Kandinsky e Aby M. 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A viagem como obliquidade e descentramento</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Propomo-nos expor e defender um ponto de vista que parte da ideia de que viajar se manifesta como...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Propomo-nos expor e defender um ponto de vista que parte da ideia de que viajar se manifesta como retorno ao proprio e mostracao das suas funcionalidades de alimento fundador e restaurador. Esta perspectiva cultiva os principios da obliquidade e do descentramento, qualidades essas que sustentam o acto de viajar como abertura e expansao na sua forma necessaria ao movimento contrario. Enquanto eixos de orientacao estes principios exprimem o desvio de padroes referenciais, segundo os quais partir e chegar sao apenas infimas etapas de um movimento continuo a que apenas a morte pora fim. E mesmo apos o desaparecimento do ser como materia nao se perde a matriz porque outros tambem a seguiram, estao a seguir ou a seguirao. 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</script> <div class="js-work-strip profile--work_container" data-work-id="70669487"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/70669487/O_giz_o_lin%C3%B3leo_e_a_parede_breves_considera%C3%A7%C3%B5es_sobre_uma_cartografia_do_salto_em_A_parede_de_Elfriede_Jelinek"><img alt="Research paper thumbnail of O giz, o linóleo e a parede – breves considerações sobre uma cartografia do salto em A parede, de Elfriede Jelinek" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/70669487/O_giz_o_lin%C3%B3leo_e_a_parede_breves_considera%C3%A7%C3%B5es_sobre_uma_cartografia_do_salto_em_A_parede_de_Elfriede_Jelinek">O giz, o linóleo e a parede – breves considerações sobre uma cartografia do salto em A parede, de Elfriede Jelinek</a></div><div class="wp-workCard_item"><span>Sinais de cena</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70669487"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70669487"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70669487; 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</script> <div class="js-work-strip profile--work_container" data-work-id="70669485"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/70669485/Sonoridades_de_W_Kandinsky_Traduc_a_o_e_Comenta_rios"><img alt="Research paper thumbnail of Sonoridades, de W. Kandinsky. Tradução e Comentários" class="work-thumbnail" src="https://attachments.academia-assets.com/80323627/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70669485/Sonoridades_de_W_Kandinsky_Traduc_a_o_e_Comenta_rios">Sonoridades, de W. Kandinsky. Tradução e Comentários</a></div><div class="wp-workCard_item"><span>Dramaturgias</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A pequena obra Sonoridades (Klänge), datada de 1912, é porventura a mais bela obra escrita por ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A pequena obra Sonoridades (Klänge), datada de 1912, é porventura a mais bela obra escrita por Kandinsky e por ele ilustrada. Originalmente o volume continha trinta e oito poemas em prosa e um vasto número de gravuras a cor e a preto branco. A edição única foi de 345 exemplares. A obra foi dedicada &quot;Aos meus pais&quot;. Torna-se hoje impossível a reconstituição deste objecto artístico e literá- rio que pretendia sublinhar a qualidade musical dos textos e das gravuras como uma justaposição «sintéctica» de ambos os contributos. A certeza, porém, de que nos poemas reverbera o deslumbramento de Kandinsky pela sonoridade das palavras, deslocadas muitas vezes de sentidos primeiros e suas variações semânticas, sujeitas a inesperada pontuação, é testemunho de uma vontade de experimentação que se fez como se antes nunca tivesse existido poesia. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92960300"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92960300/Thinking_Colours_Perception_Translation_and_Representation"><img alt="Research paper thumbnail of Thinking Colours: Perception, Translation and Representation" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92960300/Thinking_Colours_Perception_Translation_and_Representation">Thinking Colours: Perception, Translation and Representation</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The essays collected into this volume are organized into five interrelated sections exploring dis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The essays collected into this volume are organized into five interrelated sections exploring discourse on the interaction between sensation, perceptions of colour and the various forms of their cultural representation. 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Vai-se, está-se e volta-se na esperança de que o tempo de espera até à próxima partida nos traga a redenção de que aquilo que nos move mora dentro de nós e coincide com uma realidade que é ao mesmo tempo interior e exterior. Somos largados mundo fora, tantas vezes mundo dentro, com uma força e um arrebatamento tais que, ao desapossarmo-nos da segurança de um viver linear e rotineiro, recebemos o consolo libertador de que estar com outros em lugares próximos ou distantes, tantas vezes em lugar nenhum, porque ele é a nossa construção, descobrimos um prazer que atravessa todos os nossos órgãos até ao arrepio extáctico. A obra Viagens de Longo Curso – Roteiros e Mapeações faz o cruzamento de histórias contadas por pessoas que se conhecem e estimam há muito tempo, e que se foram destinando a muitos lugares. 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Estudos sobre Aby M. Warburg" class="work-thumbnail" src="https://attachments.academia-assets.com/84423499/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76873816/Qual_o_tempo_e_o_movimento_de_uma_elipse_Estudos_sobre_Aby_M_Warburg">Qual o tempo e o movimento de uma elipse? Estudos sobre Aby M. Warburg</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Qual o tempo e o movimento de uma elipse? : estudos sobre Aby M. Warburg / coord. [de] Anabela Me...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Qual o tempo e o movimento de uma elipse? : estudos sobre Aby M. Warburg / coord. [de] Anabela Mendes… [et al.]. -Lisboa : Universidade Católica Editora, 2012. -276 p. ; 23 cm ( Estudos de comunicação e cultura. Translating Europe across the ages ) ISBN 978-972-54-0348-8 I -MENDES, Anabela, coord. II -Col. CDU 7 Warburg, Aby M. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="70669502"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/70669502/_O_sol_crestante_derrama_os_seus_raios_ardentes_enquanto_a_serpente_como_secreta_protectora_repousa_no_meu_quarto_no_59_do_Palace_Hotel_de_Santa_F%C3%A9_Experi%C3%AAncia_e_discurso_antropol%C3%B3gico_em_Wassily_Kandinsky_e_Aby_M_Warburg"><img alt="Research paper thumbnail of “O sol crestante derrama os seus raios ardentes”, enquanto a serpente, como secreta protectora, repousa no meu quarto no 59 do Palace-Hotel de Santa Fé. Experiência e discurso antropológico em Wassily Kandinsky e Aby M. Warburg" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/70669502/_O_sol_crestante_derrama_os_seus_raios_ardentes_enquanto_a_serpente_como_secreta_protectora_repousa_no_meu_quarto_no_59_do_Palace_Hotel_de_Santa_F%C3%A9_Experi%C3%AAncia_e_discurso_antropol%C3%B3gico_em_Wassily_Kandinsky_e_Aby_M_Warburg">“O sol crestante derrama os seus raios ardentes”, enquanto a serpente, como secreta protectora, repousa no meu quarto no 59 do Palace-Hotel de Santa Fé. Experiência e discurso antropológico em Wassily Kandinsky e Aby M. Warburg</a></div><div class="wp-workCard_item"><span>Dramaturgias</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Não é o olhar sobre os vestígios do que já foi mas o olhar sobre o que está a ser que leva Wassil...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Não é o olhar sobre os vestígios do que já foi mas o olhar sobre o que está a ser que leva Wassily Kandinsky a visitar camponeses em Vologda, no ano 1889, e Aby M. Warburg a procurar o lugar dos índios Pueblo no Novo México em 1895. Ambos são parte de uma mesma época. Cada um por si transporta uma genética própria como expressão de uma herança cultural europeia comum, mar- cada também, e apesar disso, pela convivência com diferentes tradições religiosas. Estão os dois a ocidente e deslocam-se: o primeiro para o norte da Rússia, o segundo em direcção ao sul dos EUA. De que vão à procura? O que anima o deslocamento de cada um a lugares onde se habita numa conformidade autêntica com os elementos e a natureza? O que os move em direcção ao que podendo ser diferente está a ser, mesmo que radicado em vestígios que a passagem do tempo não eliminou? Como um quase, isto é, deixando sempre de fora mais do que conscientemente deseja- riam, Wassily Kandinsky e Aby M. Warburg observam, estudam e ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70669502"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70669502"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70669502; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=70669502]").text(description); $(".js-view-count[data-work-id=70669502]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 70669502; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='70669502']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=70669502]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":70669502,"title":"“O sol crestante derrama os seus raios ardentes”, enquanto a serpente, como secreta protectora, repousa no meu quarto no 59 do Palace-Hotel de Santa Fé. 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A viagem como obliquidade e descentramento" class="work-thumbnail" src="https://attachments.academia-assets.com/80323628/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70669500/Para_que_voltemos_onde_precisamos_voltar_A_viagem_como_obliquidade_e_descentramento">Para que voltemos onde precisamos voltar. A viagem como obliquidade e descentramento</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Propomo-nos expor e defender um ponto de vista que parte da ideia de que viajar se manifesta como...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Propomo-nos expor e defender um ponto de vista que parte da ideia de que viajar se manifesta como retorno ao proprio e mostracao das suas funcionalidades de alimento fundador e restaurador. Esta perspectiva cultiva os principios da obliquidade e do descentramento, qualidades essas que sustentam o acto de viajar como abertura e expansao na sua forma necessaria ao movimento contrario. Enquanto eixos de orientacao estes principios exprimem o desvio de padroes referenciais, segundo os quais partir e chegar sao apenas infimas etapas de um movimento continuo a que apenas a morte pora fim. E mesmo apos o desaparecimento do ser como materia nao se perde a matriz porque outros tambem a seguiram, estao a seguir ou a seguirao. 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</script> <div class="js-work-strip profile--work_container" data-work-id="70669487"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/70669487/O_giz_o_lin%C3%B3leo_e_a_parede_breves_considera%C3%A7%C3%B5es_sobre_uma_cartografia_do_salto_em_A_parede_de_Elfriede_Jelinek"><img alt="Research paper thumbnail of O giz, o linóleo e a parede – breves considerações sobre uma cartografia do salto em A parede, de Elfriede Jelinek" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/70669487/O_giz_o_lin%C3%B3leo_e_a_parede_breves_considera%C3%A7%C3%B5es_sobre_uma_cartografia_do_salto_em_A_parede_de_Elfriede_Jelinek">O giz, o linóleo e a parede – breves considerações sobre uma cartografia do salto em A parede, de Elfriede Jelinek</a></div><div class="wp-workCard_item"><span>Sinais de cena</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70669487"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70669487"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70669487; 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</script> <div class="js-work-strip profile--work_container" data-work-id="70669485"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/70669485/Sonoridades_de_W_Kandinsky_Traduc_a_o_e_Comenta_rios"><img alt="Research paper thumbnail of Sonoridades, de W. Kandinsky. Tradução e Comentários" class="work-thumbnail" src="https://attachments.academia-assets.com/80323627/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70669485/Sonoridades_de_W_Kandinsky_Traduc_a_o_e_Comenta_rios">Sonoridades, de W. Kandinsky. Tradução e Comentários</a></div><div class="wp-workCard_item"><span>Dramaturgias</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A pequena obra Sonoridades (Klänge), datada de 1912, é porventura a mais bela obra escrita por ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A pequena obra Sonoridades (Klänge), datada de 1912, é porventura a mais bela obra escrita por Kandinsky e por ele ilustrada. Originalmente o volume continha trinta e oito poemas em prosa e um vasto número de gravuras a cor e a preto branco. A edição única foi de 345 exemplares. A obra foi dedicada &quot;Aos meus pais&quot;. Torna-se hoje impossível a reconstituição deste objecto artístico e literá- rio que pretendia sublinhar a qualidade musical dos textos e das gravuras como uma justaposição «sintéctica» de ambos os contributos. A certeza, porém, de que nos poemas reverbera o deslumbramento de Kandinsky pela sonoridade das palavras, deslocadas muitas vezes de sentidos primeiros e suas variações semânticas, sujeitas a inesperada pontuação, é testemunho de uma vontade de experimentação que se fez como se antes nunca tivesse existido poesia. 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