Arquitecturas verbales y otras antigrafías

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DC Field	Value
dc.identifier	ECF_book_681
dc.creator	Parra Bañón José Joaquín
dc.title	Arquitecturas verbales y otras antigrafías
dc.type	Edited book
dc.language.iso	pt, es
dc.description.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.
dc.relation.ispartof	Library of Rassegna iberistica
dc.identifier.doi	10.30687/978-88-6969-780-7
dc.publisher	Edizioni Ca’ Foscari - Venice University Press, Fondazione Università Ca’ Foscari
dc.issued	2024-05-23
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-780-7/
dc.identifier.issn	2610-8844
dc.identifier.eissn	2610-9360
dc.identifier.isbn
dc.identifier.eisbn	978-88-6969-780-7
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	yes
dc.subject	Acronyms
dc.subject	Anne Carson
dc.subject	Anne Carson
dc.subject	Antigraphy
dc.subject	Antoni Gaudí
dc.subject	António Lobo Antunes
dc.subject	Architecture
dc.subject	Architecture and literature
dc.subject	Calligraphy and drawing
dc.subject	Carl Andre
dc.subject	Casiodoro de Reina
dc.subject	Cinema
dc.subject	Contemporary Art
dc.subject	Convent of Tomar
dc.subject	Cristina Iglesias
dc.subject	Dante Alighieri
dc.subject	Don Quichotte
dc.subject	Don Quijote
dc.subject	Drawing
dc.subject	Dámaso Alonso
dc.subject	Elena Asins
dc.subject	Esther Ferrer
dc.subject	Francisco de Holanda
dc.subject	Francisco de Holanda
dc.subject	George Perec
dc.subject	Georges Perec
dc.subject	Gordon Matt Clark
dc.subject	Hermitage of San Mamede
dc.subject	International style
dc.subject	Joan Brossa
dc.subject	Joan Perucho
dc.subject	John Cheever
dc.subject	Landscape
dc.subject	Latticework
dc.subject	Lisbon
dc.subject	Literature
dc.subject	Literature and architecture
dc.subject	Maps
dc.subject	Memory
dc.subject	Modern movement
dc.subject	Monastery
dc.subject	Painting
dc.subject	Pere Gimferrer
dc.subject	Pere Gimferrer
dc.subject	Poetry
dc.subject	Relationship
dc.subject	Ruins
dc.subject	Ruy Jervis d’Athouguia
dc.subject	Salvador de Madariaga
dc.subject	Salvador de Madriaga
dc.subject	San Isidoro
dc.subject	Section
dc.subject	Steganography
dc.subject	Terry Gilliam
dc.subject	Toponyms
dc.subject	Transmediality

Edited book
open access peer reviewed

edited by

José Joaquín Parra Bañón Universidad de Sevilla, España

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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.

Published

May 23, 2024

Language

PT, ES

ISBN (EBOOK)

978-88-6969-780-7

Keywords

Cinema • Transmediality • Monastery • Relationship • Esther Ferrer • George Perec • Toponyms • Lisbon • Drawing • Literature • Ruins • Gordon Matt Clark • Antoni Gaudí • Terry Gilliam • Literature and architecture • Francisco de Holanda • Anne Carson • Don Quijote • Painting • Elena Asins • Carl Andre • International style • Cristina Iglesias • Dámaso Alonso • Architecture and literature • Dante Alighieri • Contemporary Art • Don Quichotte • Poetry • Salvador de Madriaga • Calligraphy and drawing • Architecture • Antigraphy • Acronyms • Landscape • John Cheever • San Isidoro • Steganography • Casiodoro de Reina • Convent of Tomar • Hermitage of San Mamede • Memory • Ruy Jervis d’Athouguia • Georges Perec • Joan Brossa • Joan Perucho • Section • Modern movement • Pere Gimferrer • António Lobo Antunes • Maps • Salvador de Madariaga • Latticework

permalink http://doi.org/10.30687/978-88-6969-780-7

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.