Monday, April 06, 2020

Amatl Comix -- the Comic Book Publishing Imprint of SDSU Press -- Says, "Viva Charlie Brown!"

With All the Great Reviews of Fanny Daubigny's PROUST IN BLACK Rolling In, Isn't it Time You Got a Copy of Your Own!?

Fanny Daubigny's PROUST IN BLACK, from Hyperbole Books and SDSU Press!
Glossy Full Color Limited Edition | Regular Full Color Edition

From San Diego State University Press -- Clichetes by Philadelpho Menezes #sdsupress

 SDSU Press

Poetics and Visuality: A trajectory of contemporary Brazilian poetry

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Philadelpho Menezes's Poetics & Visuality offers an account of the development of extreme poetic practices in a country known for its commitment to experimentation. This richly illustrated history begins with spatialism, to which concretism comes as a corrective ordering in the early 1950s. The "visual poetry" of the last decades is cogently theorized as inter sign poetry (collage, package, montage poetries), a movement that has drawn international attention.

wikiBIO: Philadelpho Menezes (born in 1960 in São Paulo, Brazil, died, 2000, Brazil, in a car accident). Brazilian poet, visual poet, pioneer of new media poetry, professor in the Communication and Semiology post-graduation program at the Pontifical University of São Paulo. He performed research for his post-graduate degree at the University of Bologna, in Italy (1990). With Brazilian artist Wilton Azevedo Philadepho Menezes created a pioneer intermedia-poetry CD-ROM: "InterPoesia. Poesia Hipermidia Interativa" (1998). In Italy he collaborated with the first net-poetry project:, by Italian artist Caterina Davinio.

Information from within
The goal of this study is to furnish a theoretical framework for reflections on the pathways taken by experimental poetry in Brazil. At the same time, I hope to suggest that these increasingly intricate formulations might map out their own zone, thereby allowing the method herein elaborated to be applied to other kinds of cultural experimentation. The reader of poetry today all too frequently is confused by a body of material that seems to be little more than a collection of formal exercises that take their origins ex nihilo. I will try to undo this error by showing the inverse: in the apparent chaos of avant-garde Brazilian poetry, there is a backbone that structures a trajectory in the direction of an incorporation of visuality in the poem, a depositing of the poetic function in the visual image.