TranscUlturAl, vol. 9.1 (2017), 105-122.
Photographed Metaphors:Meaning, Reference, and Translation in Manoel de
Barros
Axel Pérez Trujillo Diniz
University of Alberta, Edmonton
In a brief letter written in May of 2011, Brazilian poet Manoel de
Barros (1916-2014) conveyedhis interest in collaborating with photographer
Adriana Lafer on a book that would “express my verbal sketches; — with your images” (Arquitetura 48). Barros’s careful choice
of words iscompelling, for he prefers to write “express” instead of “transform” or “translate” in his correspondence
with Lafer. The shift in the medium of expression, from words to images,suggests
an engagement between writer and photographer that places language at the heart
oftheir collaborative book titled Arquitetura do silêncio (2015). To “express” is to convey almost without mediation, as a transparent
lens that allows light to penetrate, only then to slightly
refractthe image. It is a playful tension between transparency and
refraction, just as in the cover of theirbook — a photograph of what looks like a window, in which
the condensation of water is infocus, displaying how light refracts into
infinitesimal drops of green. In this article, I will arguethat Barros’ initial choice
of words in describing his desire to work closely with Lafer reveals hisludic
challenge of meaning and reference in language. In Arquitetura, Barros and
Lafer displaythrough words and photographs a mode of gazing that transfigures
the world, focusing on theabandoned sites that surround us: “O olho vê, a
lembrança revê, e a imaginação transvê. É preciso transver o mundo” (“The eye sees, memory re-sees, and imagination trans-sees. It
isnecessary to trans-see the world”) (Arquitetura 4).
[Continua].
Disponível em:
https://www.academia.edu/33612493/Photographed_Metaphors_Meaning_Reference_and_Translation_in_Manoel_de_Barros
Nenhum comentário:
Postar um comentário