Text And Image

See: Palomares-Salas, Claudio. “Sketching Futurism: Güiraldes, Marinetti and Buenos Aires” International Yearbook of Futurism Studies. Ed. Mariana Aguirre, Rosa Sarabia, Renée M. Silverman and Ricardo Vasconcelos. Vol. 7 (2017) Berlin, Boston: De Gruyter, 2017: 360-363.

"When Marinetti (1876–1944) visited Buenos Aires in 1926, his best time had passed. Not only was Futurism a dated aesthetic, but Marinetti himself was almost fifty years old, which was shamefully old for the preacher of a doctrine that had once stated: “The oldest among us are thirty; so we have at least ten years in which to complete our task. When we reach forty, other, younger, and more courageous men will very likely toss us into the trash can, like useless manuscripts. And that’s what we want!”
The first of Marinetti’s nine lectures in Buenos Aires took place on 11 June at the Coliseo Theatre. The event was entitled El futurismo bajo sus diversos aspectos en los países en que imperan las escuelas de vanguardia (Futurism: Its Various Aspects in the Countries Where the Avant-garde Schools Hold Sway) and elicited a great deal of interest, not because of its relevance to local aesthetic debates, but rather because the press – mainly the popular journal Crítica – had fuelled expectations regarding a potential scandal due to the Italian poet’s association with Fascism. The Argentine press rallied against Marinetti, mocking and attacking him as an ambassador of tyranny. Only the poets gathered around the avant-garde magazine Martín Fierro – who were generationally indebted to the poet – saved Marinetti from the porteño press, but even they made sure to distance themselves from his political leanings. To the general disappointment, the Buenos Aires lectures took place in relative calm. Marinetti behaved in a conciliatory way, affirming constantly that he was not a Fascist, and concentrating exclusively on preaching the ‘novelties’ of his more-than-a-decade old aesthetic. Two months after the first lecture, the avant-garde magazine Valoraciones: Revista bimestral de humanidades, crítica y polémica (Assessments: Bimonthly Magazine of Human Culture, Criticism and Controversy, 1923–28) published an issue featuring drawings by important local writers such as Oliverio Girondo, Jorge Luis Borges, Leopoldo Marechal, Eduardo Mallea and Ricardo Güiraldes."

El texto revisa dos de los libros más importantes de la vanguardia hispana: Hélices (1923) de Guillermo de Torre y Urbe: súper-poema bolchevique en 5 cantos (1924) de Manuel Maples Arce, enfocándose en las narrativas visuales presentes en la obra de los pintores que los ilustraron: Jean Charlot, Rafael Barradas, Norah Borges y Daniel Vázquez Díaz. Se explica aquí cómo la obra plástica de la vanguardia produjo una narrativa común, independientemente de los textos que ilustró. Si las imágenes que acompañaban a muchos de los textos decimonónicos buscaban representar lo escrito, las imágenes que se observan en el arte ultraísta y estridentista responden más bien a las exigencias estéticas de la utopía maquinista que caracterizó al periodo. El arte de la vanguardia rara vez fue autónomo. El artículo intenta probar que a pesar de la aparente libertad con la que los artistas ilustraron los textos, la gran mayoría de ellos tuvieron que subordinar su arte a una causa mayor, no la causa de la pintura o la poesía, sino la causa del progreso, la tecnología y la revolución.

En tanto traductor, testigo y litigante, Felipe Guaman Poma encarna la implementación de las instituciones administrativas y jurídicas del Perú colonial. En textos letrados, así como en los dibujos en blanco y negro
de su obra, el autor andino hizo continuas referencias a los artefactos de papel de los procesos jurídicos españoles en su proyecto para preservar propiedades, así como prácticas culturales andinas. Este ensayo examina
el conocimiento que Guaman Poma tenía de los formatos y procesos legales de su época y su programa para constituir un legado de justicia en los Andes. Mi estudio de textos ejemplares como la orden de amparo, la cédula y la permuta demuestra que el cronista indígena adaptó la ley
española para que sirva a propósitos andinos.

William Blake’s The Songs of Innocence and of Experience employed catechistic structures frequently found in eighteenth-century children’s literature; however, this appropriation by Blake provokes questions about his political and aesthetic agenda. Children’s literature, though increasingly popular throughout the eighteenth century, was not a vehicle for serious art and commentary. Likewise, catechisms, both in religious texts like the Book of Common Prayer and in children’s books by writers like Bunyan, Isaac Watts, and Anna Laetitia Barbauld, supported religious and civil hierarchies that Blake rejected. Yet the participatory nature of catechesis provided Blake the opportunity to unveil his own political-aesthetic program for revolution and redemption. Through the contraries of image and word in “The Lamb” and “The Tyger” Blake encourages readers to participate in the creative process, to become artists. The catechistic poems celebrate children’s connection to the imagination and attempt to reeducate adults from their indoctrinated obedience to Church and State.

Toys are essential to our initiation into the world. It is by playing with toys that we understand how things work, act out situations, learn about rules, and imagine alternative worlds with different rules. Anything can be used as a toy as long as it lends itself to be played with. For toys, as Miguel Sicart remarks, ‘are the matter of play’ (2014, p. 43). As vehicles for the imagination, toys have traditionally taken the form of miniature replicas of real-life objects and people. Their legacy persists even in the era of computer games. Toy stores offer a large variety of miniatures from teddy bears to action gures to Lego and Playmobil sets. The mini ature toy ‘opens an interior world, lending itself to fantasy and privacy’ (Stewart, 1999, p. 56) and empowering the one playing with it. ‘The cleverer I am at miniaturizing the world, the better I possess it’, as Gaston Bachelard asserts (1994, p. 151). At the same time, miniature toys are also the means for the world to possess us. From dollhouses to action gures, miniature toys operate as tools to indoctrinate children with a set of values and norms (Sutton-Smith, 1986; Kuznets, 1994; Fleming, 1996; Merlock Jackson, 2001; Perry, 2013, p. 76).

For the affluent merchant class of fifteenth-century Florence, the education of future generations was a fundamental matter. Together with texts, images played an important role in the development of the young into adult citizens. In this book, Federico Botana demonstrates how illustrated manuscripts of vernacular texts read by the Florentine youth facilitated understanding and memorisation of basic principles and knowledge. They were an important means of acquiring skills then considered necessary to gain the respect of others, to prosper as merchants, and to participate in civic life. Botana focuses on illustrated texts that were widely read in Quattrocento Florence:  the Fior di virtù (a moral treatise including a bestiary), the Esopo volgarizzato (Aesop's Fables in Tuscan), the Sfera by Goro Dati (a poem on cosmology and geography), and mathematical manuals known as libri d'abbaco. He elucidates, in light of original sources and medieval and modern cognitive theory, the mechanisms that empowered illustrations to transmit knowledge in the Italian Renaissance.

Mémoire de Master of Text and Visual Studies/ Trinity College of Dublin, French Department/ 2006-2007

Par A une Passante, chef d’œuvre minuscule en taille mais sublime en valeur et densité, par ce passage d’une captivité accidentelle extérieure à un exil essentiel intérieur, nous tenterons donc ici d’aborder une des images qui hantent la poésie de Baudelaire, d’écouter sa voix même et de suivre les voix qui traversent son regard et ce qu’il se dit dans et par ses regards.

De acordo com a perspetiva dos estudos interartes, esta apresentação aborda as edições d' Os Lusíadas tomando como foco as relações texto/imagem. Neste âmbito, são analisados três pontos: o diálogo intertextual entre a linguagem logo-icónica e a obra camoniana; o recurso à muda poesia de Camões como fonte de inspiração para a pintura e as relações entre texto e imagem nas edições ilustradas do poema épico, com particular destaque para as publicações destinadas ao público infanto-juvenil. Tomando como ponto de partida a versão publicada pela Visão em 2013, "Os Lusíadas para toda a Família", que inclui com contos de José Luís Peixoto, pretende-se refletir sobre o contributo das imagens nas edições ilustradas.