Arquitecturas verbales y otras antigrafías
open access | peer reviewed
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edited by
- José Joaquín Parra Bañón - Universidad de Sevilla, España - email orcid profile
Abstract
Once again, the book as a place. As a place of the stain. Of the ink stain on the paper or the flash of polychrome light on what serves as a screen, a backdrop or a projection wall. The skin, the tombstone, the printed sheet or the facade of the building. The book as a place of architecture: a compendium of verbal architectures and their multiple manifestations, of some of their intimate conversations with other neighboring disciplines. As a receptive void, predisposed to be possessed, to let itself be occupied by the germinal verb. As a universe in which to impose order on chaos; as an operating table on which to perform an autopsy on the invertebrate; as a recruiting ground for dissidence. As a laboratory in which to make sense of events, in whose bosom to project possibilities, hypotheses, events, landscapes. Where to imagine that in the Brancacci Chapel, holding hands, Eve and Adam disobey Masaccio, the voice that shouts and the angel that expels them, and that they turn around and re-enter through the crack, to deny the door that unnecessarily stops them from the light and leads them to pain. The book as an immaculate bed on which to wish the threat of style rules, the harassment of dictatorial orthotypography, the censorship of the dreaded pairs of blind men and the punishment of the surveyors to cease.
This book as a meeting place, as a place to meet, as a shelter for the line that draws words and figures. As an environment in which are threaded, twisting in their phylacteries, the phrases pronounced one autumn in Lisbon. As a representation of the sound environment, of the oral atmosphere that solidifies. As a theater of synthesis and stage of pleasure. As a space where antigraphy (Parra), cartography (Bou), cinematography (Abreu), scenography (Castanheira), chorography (Carol), epigraphy (Bocchi), orthography (Bilbao), surgery (Gracía) and stenography (Haro) are incarnated joyfully and venereally, and between them they maintain happy bodily relations.
Keywords Hermitage of San Mamede • Landscape • Drawing • Francisco de Holanda • San Isidoro • George Perec • Pere Gimferrer • Maps • Anne Carson • Esther Ferrer • Latticework • Ruy Jervis d’Athouguia • Terry Gilliam • Dante Alighieri • Monastery • Joan Brossa • Literature • Transmediality • Contemporary Art • Antigraphy • Modern movement • Calligraphy and drawing • Elena Asins • Dámaso Alonso • Don Quichotte • Section • International style • Poetry • Architecture • Ruins • Toponyms • António Lobo Antunes • Architecture and literature • Convent of Tomar • Acronyms • Joan Perucho • Cristina Iglesias • Cinema • Memory • Painting • Antoni Gaudí • Salvador de Madariaga • Literature and architecture • Steganography • Casiodoro de Reina • Gordon Matt Clark • Salvador de Madriaga • Carl Andre • Lisbon • Relationship • Georges Perec • Don Quijote • John Cheever
Permalink http://doi.org/10.30687/978-88-6969-780-7 | e-ISBN 978-88-6969-780-7 | Published May 23, 2024 | Language es, pt
Copyright © 2024 José Joaquín Parra Bañón. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.