Vol. 44 No. 72 (2024): Mulheres artistas: do modernismo à contemporaneidade

Apresentação

Nota de Apresentação

Fábio Mário da Silva, Paulo Cunha, Renata Soares Junqueira

8–11
- PDF (Portuguese)

Resenhas

ALMEIDA, Djaimilia Pereira de. Ferry. Lisboa: Relógio d’água, 2022.

Alessandra Magalhães

318–321
- PDF (Portuguese)

Varia

The correspondence between António Ferreira and Sá de Miranda notes on the elegiac genre in portuguese letters of the XVI century.

Gustavo Luiz Nunes Borghi

273–292
- PDF (Portuguese)
The political dimension of human corporeality The Crime of Father Amaro, an anthropological analysis of the storyline

Esmeralda Broullón-Acuña

293–317
- PDF (Portuguese)

Dossiê: Mulheres Artistas – do modernismo à contemporaneidade

Reflections on Europa, the monthly magazine directed and edited by Judith Teixeira

Fábio Mário da Silva

12–40
- PDF (Portuguese)
WHEN TELLING IS RESISTING REFLECTIONS ON ARTISTS WOMEN IN PORTUGUESE NEO-REALISM

Jorge Vicente Valentim

41–80
- PDF (Portuguese)
About words and painting images of Lisbon through the eyes of Teolinda Gersão and Maluda

Karina Frez Cursino, Silvio Renato Jorge

81–101
- PDF (Portuguese)
Normality as permanent suffering in Eliete, by Dulce Maria Cardoso

Roberta Guimarães Franco, Júlia Fonseca Gomes

102–119
- PDF (Portuguese)
Between biography and fiction the essay of Agustina Bessa-Luís

Roberto Xavier de Oliveira

120–137
- PDF (Portuguese)
As Formas de presença da voz feminina nos cordéis de Salete Maria da Silva

Fabiane Renata Borsato

138–162
- PDF (Portuguese)
THE POETICS OF THE IMPLACABLE OR READING TERCETO PARA O FIM DOS TEMPOS BY MARIA LÚCIA DAL FARRA

Jonas Leite

163–178
- PDF (Portuguese)
Marília Garcia in displacement “I write the trip and it happens”

Juliana dos Santos Gelmini

179–198
- PDF (Portuguese)
An analysis of the poem Canto Eucarístico, by Adélia Prado, according to Carreter and Calderón’s Text Commentary method

André Nemi Conforte, Bianca Pandeló Cerqueira

199–216
- PDF (Portuguese)
The female perspective on modernity and tradition in Enervadas, by Chrysanthème

Gabriele Maris Pereira Fenerick

217–232
- PDF (Portuguese)
THE FEMININE AS A LITERARY PROJECT BY ALINE BEI IN PEQUENA COREOGRAFIA DO ADEUS AND O PESO DO PÁSSARO MORTO

Ellen Mariany da Silva Dias, Letícia Palazzio

233–255
- PDF (Portuguese)
The symbolism of water in the chronicle “Ouçam os ruídos dos jacumãs”, by Eneida de Moraes

Vanessa da Costa Valentim, Állan Sereja dos Santos, Luiz Rodrigo Brandão Pinheiro

256–272
- PDF (Portuguese)

Vol. 44 No. 72 (2024): Mulheres artistas: do modernismo à contemporaneidade

Full Issue

Apresentação

Nota de Apresentação

Resenhas

ALMEIDA, Djaimilia Pereira de. Ferry. Lisboa: Relógio d’água, 2022.

Varia

The correspondence between António Ferreira and Sá de Miranda notes on the elegiac genre in portuguese letters of the XVI century.

The political dimension of human corporeality The Crime of Father Amaro, an anthropological analysis of the storyline

Dossiê: Mulheres Artistas – do modernismo à contemporaneidade

Reflections on Europa, the monthly magazine directed and edited by Judith Teixeira

WHEN TELLING IS RESISTING REFLECTIONS ON ARTISTS WOMEN IN PORTUGUESE NEO-REALISM

About words and painting images of Lisbon through the eyes of Teolinda Gersão and Maluda

Normality as permanent suffering in Eliete, by Dulce Maria Cardoso

Between biography and fiction the essay of Agustina Bessa-Luís

As Formas de presença da voz feminina nos cordéis de Salete Maria da Silva

THE POETICS OF THE IMPLACABLE OR READING TERCETO PARA O FIM DOS TEMPOS BY MARIA LÚCIA DAL FARRA

Marília Garcia in displacement “I write the trip and it happens”

An analysis of the poem Canto Eucarístico, by Adélia Prado, according to Carreter and Calderón’s Text Commentary method

The female perspective on modernity and tradition in Enervadas, by Chrysanthème

THE FEMININE AS A LITERARY PROJECT BY ALINE BEI IN PEQUENA COREOGRAFIA DO ADEUS AND O PESO DO PÁSSARO MORTO

The symbolism of water in the chronicle “Ouçam os ruídos dos jacumãs”, by Eneida de Moraes

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