Abstract
Read the illustrated literary text is simultaneously think pictures and words. This articulation between the written text and pictures adds potential, expands and becomes complex. Coincides with nowadays discussions on Giorgio Agamben’s «contemporary» that add to what adheres to respectively time the displacement and the distance needed to understand it, shakes linear notions of historical chronology. Somehow the coincidence is related to the current interest in the concept of «Nachleben” (survival), which assumes the images of the past ransom, postulated by the art historian Aby Warburg in a research on ancient art of motion characteristics in Renaissance pictures Botticelli’s. For the translation of the Princesa Brambilla – um capriccio segundo Jakob Callot, de E. T. A. Hoffmann, com 8 gravuras cunhadas a partir de moldes originais de Callot (1820) to Portuguese such discussions were fundamental, as I try to present in this article.
Keywords
Poetic translation; Illustration; Writing/Picture
