HOW TO TRANSLATE FROM ONE ART TO ANOTHER? CLARICE LISPECTOR: BETWEEN THE PEN AND THE BRUSH, THE WORDS AND THE PAINTS

Abstract

Forty years after Clarice Lispector’s death, there is still too much ink running over the paper about her literary production. The analyses of Claricean work embrace since the more traditional perspective, with emphasis in the stream of consciousness and the inner monologue, to the feminist critic, and more recently, approaches centred in the cultural and biographical critics. In the last few years, the critic has turned its attention to another Clarice Lispector: the painter. The production of Clarice Lispector’s pain-ting was made, mainly, during the years 1975 and 1976, totalizing twenty-two canvases. Eighteen canvas signed by Clarice Lispector are now at Fundação Casa de Rui Barbosa, while others two were gifted to Autran Dourado and Nelida Piñon. And finally two canvas belongs to the Instituto Moreira Salles. Our aim in this work is to make a reflection related to the intersemiotic translation or trans-position made by Clarice Lispector. For this, we will proceed an analysis of a pictorial corpus made basically by the canvas painted by Clarice and that were intersemiotic translated to the novels. Água viva (1973), and Um sopro de vida (1978). At this point, it is important to emphasize that there are few works in Latin America that intend to discuss the intersemiotic translation or transpo-sition in Clarice Lispector.