domingo, 9 de julho de 2017

Um estudo sobre a metáfora em Manoel de Barros

TranscUlturAl, vol. 9.1 (2017), 105-122.

This work is licensed under a 

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). 


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