What really matters in Décio Pignatari
What we intend with this essay is to highlight some aspects of Décio Pignatari's poetics that, to a large extent, singularize his textual path when confronted with a supposed serious-aesthetic style that would mark the production of concrete poets. The mixture of codes seen in his verbal and no...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Institución: | Universidade Federal de Pernambuco (UFPE) |
| Repositorio: | Perspectiva Filosófica (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:oai.periodicos.ufpe.br:article/256184 |
| Acceso en línea: | https://periodicos.ufpe.br/revistas/perspectivafilosofica/article/view/256184 |
| Access Level: | acceso abierto |
| Palabra clave: | concretism contemporary poetry Décio Pignatari Godard signovo concretismo poesia contemporânea |
| Sumario: | What we intend with this essay is to highlight some aspects of Décio Pignatari's poetics that, to a large extent, singularize his textual path when confronted with a supposed serious-aesthetic style that would mark the production of concrete poets. The mixture of codes seen in his verbal and non-verbal poems, such as the necessarily erudite humor without varnish – since his interest in pop culture is notorious –, the priapeia imagery, the semiotic appetite almost pornographic, the unceremonious deal with the tradition, etc., give Pignatari's poetics a disposition for transactions with other sign forms. And it is from this perspective that we try to relate his language designer inventions with Jean-Luc Godard's anti-cinema whose filmography dissipates while disturbing the narrative faculty attributed to the seventh art. Both the poet and the filmmaker are creators of non-linearity, or as Pignatari might prefer to say, creators in search of the signovo. |
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