by Francesco Giarrusso
Collection: Ars
Year of edition: 2016
ISBN: 978-989-654-282-5
Price of the print edition: € 15
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Synopsis
The analysis of João César Monteiro’s work, as a plural textual unit, implies a research work based on the loci simile’s demand: dialogical segments in which it is possible to hear the echo of other textual clusters. Transtextual and interdiscursive relations, often founded on the collision of antithetical elements, generate a complex semantic and iconic universe whose strength comes from the continuous game of similarities and contrasts which in turn arise inside: dialogic network in which the constant semiotic operations give rise to the perfect circle of the back-and-forth, the eternal return of quotations, homages and parodies, whose purpose is to subvert all conventional logical nexus, principles and norms of the dominant culture that our society accepts, on their rigorous univocality. The combination of apparently incompatible elements, such as sacred and profane, popular and erudite, sublime and trivial, all re-proposed or amended by complex dialogical practices, leads images, sounds and phenomena to the destruction of the established hierarchy of values, through the establishment of new relations between words. The subversive monteirian act consists, therefore, in separating what is traditionally united and to bring closer what is usually distant in order to break into the restrictions of the cultural monolingualism to open itself to polysemy.
Index
Preface 5
Introduction 9
Chapter I - Submerged Bodies: Transtextuality and Interdiscursivity in João César Monteiro’s work 15
1.1. Brief introduction to the exegesis of João César Monteiro’s work 15
1.2. From the empirical reader to the model reader: for a text Philology 29
1.3. Texts and speeches: for a definition of dialogism 42
1.4. 1.4. In hoc signo vinces: the interpreters’ policy 68
1.5. Transtextuality: typologies and regimes 77
Chapter II - The Labyrinth and the Mirror: Interpretations of the Monteirian Encyclopedia 81
2.1. This obscure object of literary quotation 81
2.2. Image of an image: the homomedial quotation 104
2.3. Ghost and Fetish: the cinematic image as a quotation 117
2.4. The bricoleur paths: texts, paintings and movies in monteirian canton 120
2.5. The grotesque and the culture carnivalization 147
2.6. The reflection and the stuntman 170
Chapter III - The body of God 217
3.1. The kingdoms of God 217
3.2. Images and words in "Lusitanian comedies" 239
3.3 The verb of God between sacred and profane 266
3.4. The upside down world of João César Monteiro: the erotic image of the pervert sacred 273
Conclusion 287
Bibliography 297
