The laboring birth of doors
-
Ruggero Pierantoni
Abstract
Doors play a complex role in architecture. The very word, at least in Italian and French, illuminates the marking of the deliberate interruption of the act of foundation during the ceremony of the wall's enceinte tracing. The word porta indicates the action of portare. During the tracing of the furrow into the ground, the blade is lifted out of the ground in order to mark the place of the future entrance (or exit) to the city. Another significant role is the marking of the “exit” from this world and it is loaded with intense significance in funereal architecture. But if we look at the semantic “Mirror, mirror on the wall,” it will be easy to discover the other, complementary, and necessary role of the porta. The reading of Aristophanes' Lysistrata shows the explicit “hidden” metaphor of the door, which has been very well christened as the “Origin of the World” in the famous Courbet painting.
© 2011 Walter de Gruyter GmbH & Co. KG, Berlin/New York
Articles in the same Issue
- Introduction
- Post-modernism, post-structuralism, post-semiotics? Sign theory at the fin de siècle
- Postmodernity as the unmasking of objectivity: Identifying the positive essence of postmodernity as a distinct new era in the history of philosophy
- Signs of the times: Mind, evolution, and the twilight of postmodernity
- Conformity and resistance as cultural process in postmodern globalizing times
- Tourism as a postmodern semiotic activity
- Socio-semiotics and the new mega spaces of tourism: Some comments on Las Vegas and Dubai
- Subjectivism, postmodernism, and social space
- The laboring birth of doors
- Self-referential postmodernity
- Semiotics of art, life, and thought: Three scenarios for (post)modernity
- Semiotic approaches to advertising texts and strategies: Narrative, passion, marketing
- Return of the referent: Italian cinema for the new millennium
- The postmodern in music
- Strauss's Capriccio and the terror of time
- Nusrat Fateh Ali Khan: the strange destiny of a singing mystic. When music travels . . .
- Postmodern (applied) linguistics
- Bi-paradigmatic irony as a postmodern sign
Articles in the same Issue
- Introduction
- Post-modernism, post-structuralism, post-semiotics? Sign theory at the fin de siècle
- Postmodernity as the unmasking of objectivity: Identifying the positive essence of postmodernity as a distinct new era in the history of philosophy
- Signs of the times: Mind, evolution, and the twilight of postmodernity
- Conformity and resistance as cultural process in postmodern globalizing times
- Tourism as a postmodern semiotic activity
- Socio-semiotics and the new mega spaces of tourism: Some comments on Las Vegas and Dubai
- Subjectivism, postmodernism, and social space
- The laboring birth of doors
- Self-referential postmodernity
- Semiotics of art, life, and thought: Three scenarios for (post)modernity
- Semiotic approaches to advertising texts and strategies: Narrative, passion, marketing
- Return of the referent: Italian cinema for the new millennium
- The postmodern in music
- Strauss's Capriccio and the terror of time
- Nusrat Fateh Ali Khan: the strange destiny of a singing mystic. When music travels . . .
- Postmodern (applied) linguistics
- Bi-paradigmatic irony as a postmodern sign
