<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0807-8967</journal-id>
<journal-title><![CDATA[Revista Diacrítica]]></journal-title>
<abbrev-journal-title><![CDATA[Diacrítica]]></abbrev-journal-title>
<issn>0807-8967</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos Humanísticos da Universidade do Minho]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0807-89672025000200289</article-id>
<article-id pub-id-type="doi">10.21814/diacritica.6554</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[O planeta é um pergaminho: a poética ambiental de Sérgio Medeiros]]></article-title>
<article-title xml:lang="en"><![CDATA[The planet is a parchment: the environmental poetics of Sérgio Medeiros]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Malufe]]></surname>
<given-names><![CDATA[Annita Costa]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade de Salamanca Faculdade de Filologia ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2025</year>
</pub-date>
<volume>39</volume>
<numero>2</numero>
<fpage>289</fpage>
<lpage>316</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0807-89672025000200289&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0807-89672025000200289&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0807-89672025000200289&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo A obra de Sérgio Medeiros (Bela Vista, 1959) mostra-se como um caso exemplar de hibridismo ou mesmo indiscernibilidade entre gêneros artísticos na atualidade, talvez não apenas em contexto brasileiro. Desde seus primeiros livros, Medeiros opta por uma experimentação constante, entre prosa e poesia, que logo se expande ao teatro, à caligrafia, ao livro de artista, ao desenho e à pintura, sendo ao mesmo tempo poesia visual, ou ainda, como o próprio designa, &#8220;esculturas de caligrafias&#8221;, &#8220;glifos&#8221; e, por vezes, música, performance, instalação. Sua produção nos leva a experimentar uma rítmica que se expande para além dos suportes, ocupando o espaço, o entorno, e indo em direção a uma &#8220;poética ambiental&#8221;, no sentido do programa ambiental do artista Helio Oiticica. O objetivo deste artigo é, ao fazer uma apresentação do projeto caligráfico e &#8220;glífico&#8221; de Medeiros, mostrar o quanto esse trabalho híbrido e expandido liga-se à criação de outras cosmogonias possíveis. As análises e reflexões partem do ponto de vista de seu processo criativo e baseiam-se sobretudo no próprio pensamento do autor, o qual constitui junto aos poemas visuais e verbais sua cosmogonia poética. Importa-nos ainda notar o quanto o desdobramento ambiental é o gesto condizente com cosmogonias que partem de um ato ético de escuta e aproximação a outros modos de ver e escrever o mundo, propondo que &#8220;o planeta é um pergaminho&#8221;, em que tudo e todos escrevem.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The work of Sérgio Medeiros (Bela Vista, 1959) stands as an exemplary case of hybridity or even indiscernibility between artistic genres today, perhaps not only within the Brazilian context. Since his early books, Medeiros has pursued constant experimentation between prose and poetry, which soon expands to theatre, calligraphy, artist&#8217;s books, drawing, and painting; simultaneously embodying visual poetry, or, as he calls it, &#8220;calligraphy sculptures&#8221;, &#8220;glyphs&#8221;, and, at times, music, performance, and installation. His production leads us to experience a rhythm that transcends its media, occupying space, its surroundings, and moving towards an &#8220;environmental poetics&#8221;, in the sense of the environmental programme of the artist Hélio Oiticica. The aim of this article is, by presenting Medeiros&#8217; calligraphic and &#8220;glyphic&#8221; project, to demonstrate how this hybrid and expanded work is connected to the creation of other possible cosmogonies. The analyses and reflections stem from the perspective of his creative process and are primarily based on the author&#8217;s own thinking, which, along with his visual and verbal poems, constitutes his poetic cosmogony. Furthermore, it is important to observe how the environmental unfolding is the gesture consistent with cosmogonies that emerge from an ethical act of listening and approaching other ways of seeing and writing the world, proposing that &#8220;the planet is a parchment&#8221;, upon which everything and everyone writes.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Poesia contemporânea]]></kwd>
<kwd lng="pt"><![CDATA[Sérgio Medeiros]]></kwd>
<kwd lng="pt"><![CDATA[Hibridismo de gêneros]]></kwd>
<kwd lng="pt"><![CDATA[Relações interartes]]></kwd>
<kwd lng="en"><![CDATA[Contemporary poetry]]></kwd>
<kwd lng="en"><![CDATA[Sérgio Medeiros]]></kwd>
<kwd lng="en"><![CDATA[Genre hybridity]]></kwd>
<kwd lng="en"><![CDATA[Interarts relations.]]></kwd>
</kwd-group>
</article-meta>
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