Patrícia Lino (1990) is a poet, an essayist, and Associate Professor of poetry and visual arts at UCLA. Among her books, videopoems, translations, and sound experiences are, for instance, Imperativa Ensaística Diabólica. Infraleituras da Poesia Expandida Brasileira (2024), O Kit de Sobrevivência do Descobridor Português no Mundo Anticolonial (2024), A Ilha das Afeições (2023), Barriga ao Alto (2023), Aula de Música (2022), I Who Cannot Sing (2020), Manoel de Barros e a Poesia Cínica (2019) or Vibrant Hands (2019). Lino’s work has been published and presented in more than 9 countries. Her current research focuses on contemporary poetry, intermediality, visual culture, literary parody, and film. http://patricialino.com.

Education

  • Ph.D. (2018) Hispanic Languages and Literatures, University of California, Santa Barbara.
  • M.A. (2013) Literary, Cultural, and Inter-artistic Studies, Faculdade de Letras da Universidade do Porto.
  • B.A. (2011) Classics, Faculdade de Letras da Universidade do Porto.

Research

Twentieth-century and twentieth-first-century poetry

Intermedial poetry and intermedial thinking

Afro-Luso-Brazilian literatures and visual arts

Mythological literary remakes

Afro-Luso-Brazilian film

Anticolonialism and post-colonial studies

Literary parody

Creative and uncreative writing

Poetry and illustration

Articles

Updated CV at https://www.patricialino.com/cv.

Courses

(Graduate Seminar) WAY-OUT AND MULTI-TONGUED ESSAYS ON POETS FROM THE AMERICAS
Collective, creative and conceptual encounters with American poetry based on themes that seem to unfold multiculturally to fascinate or torment poets. Among the themes: the weight of tradition, the obsessive and humorous metalanguage of poetry, homoerotic affection, death, the relationship of poetry with other arts or the representation of animals. Among the authors: Frank O’Hara, Anne Carson, Pat Parker, Nicanor Parra, Augusto de Campos, Gary Snyder, Susana Thénon, Cristina Peri Rossi, Danez Smith, Rocío Cerón, or Marília Garcia. In addition to the readings and traditional academic analysis of the texts to be worked on, students are asked to recreate, every week, a specific literary object. Class and texts are both taught and read in Portuguese, Spanish, and English.

(Graduate Seminar) EXPANDED BRAZILIAN POETRY
Based on the interdisciplinary and intermedial analysis of several Brazilian authors, such as Luís Aranha, Oswald de Andrade, Pagu, Julieta Barbara, Augusto de Campos, Ferreira Gullar, Álvaro or Neide de Sá, Expanded Brazilian Poetry proposes three central ideas: a) the creation of “infraleituras”, a new type of expanded, performative, and anticolonial essay that unfolds in the expansion of the essayist’s own bodily faculties; b) the coincidence between intermediality and the anthropophagic practice in the development of the Brazilian avant–garde literary work; and, finally, c) the rehabilitation of the hybrid status of both canonical and forgotten literary works.

(Undergraduate Class) LATIN AMERICAN FILM THROUGH (RE)CREATION
Students are not only invited to analyze and discuss collectively various classics of Latin American cinema, but also to recreate their aesthetics, content, and techniques artistically. Among the directors to be analyzed, discussed, and recreated are: Luis Buñuel, Glauber Rocha, Sara Gómez, Lucrecia Martel, Raoul Peck, Cristina Gallego or Tatiana Huezo.

(Undergraduate Class) AFRO-LUSO-BRAZILIAN CINEMA AND SHORT FILM-MAKING
Afro-Luso-Brazilian Cinema and Short Film-Making introduces different key aspects of Afro-Luso-Brazilian decolonial, feminist, queer, black and indigenous political resistance through a variety of cinematographic objects. We engage with significant authors, concepts, and theories of Afro-Luso-Brazilian cinema, and learn the necessary technical tools to analyze the selected films (camera angles, cuts, focus and movements, mise-en-scéne, lighting, and editing). Students are also asked to make their own short film using these same techniques in order to better understand the difficulty, deepness, and quality of the objects studied.

(Graduate Seminar) PLURIVERSAL UNIVERSES. POETRY AND THE EMPATHETIC CANON
Drawing on a postcolonial and Amerindian conception of empathy — which centers the move to dehierarchize all bodies — this course aims to discuss the mechanisms permitting the naturalization of the traditional literary canon. In addition, it also explores the connection between the new and decolonized thematic centers of Afro-Luso-Brazilian contemporary poetry. There is no way of separating the growing interest of poets in plants and animals from the appearance of a poetry increasingly invested in representing, both in Brazil and Portugal, the Afro-descendant, feminine, and queer experience and its relation to visuality, non-originality, and performance. Among the authors to be studied, are Oswald de Andrade, Fernando Pessoa, Vicente do Rego Monteiro, Patrícia Galvão, Maria Esther Maciel, Ana Martins Marques, Adília Lopes, Judith Teixeira, and various other vanguardist poets and artists (Augusto de Campos, Ana Hatherly, Lygia Clark, Wlademir Dias-Pino, Neide de Sá, or Moacy Cirne).

(Graduate Seminar) WRITERS DON’T GO TO HEAVEN. PRACTICES OF ACADEMIC AND CREATIVE WRITINGThis seminar focuses on academic writing, creative writing, and uncreative writing. It is based on the discussion of concepts such as essay, poem, and appropriation as well as on exercises enabling students to practice, test, and experience the particularities of each one of these genres of communication. Students are also invited to present their academic and creative works and learn more about various forms of academic presentation (conference, class, book, and job talk). In addition to all these activities, this seminar also features lectures by invited speakers who offer examples of types of presentations and techniques common both in academia and the literary universe.

(Graduate Seminar) THE OBSESSIONS OF MODERN LUSO-BRAZILIAN POETS
The Obsessions of Modern Luso-Brazilian Poets focuses, from a postcolonial perspective, on some of the obsessions nurtured by Brazilian and Portuguese poets of the 20th and 21st centuries — and on the variation of these differences between each respective country. Some of these obsessions concern the question of uselessness (or, rather, of drawing pleasure from being useless), identity, the problems posed by the interdisciplinary or monodisciplinary poem, the modern and possible remakes of Greco-Latin ancient cultures, or humor. While these problems are not particular to the Portuguese-Brazilian world, they remain fundamental to understanding the most recent interests driving the central themes and problems of their poetic universes.