Street guide as a literary genre: La Manada City

Citation: López-Cabrales, María del Mar, Joseph Cabeza-Lainez, and Inmaculada Rodriguez-Cunill. 2023. Street Guide as a Literary Genre: La Manada City.Arts 12: 115. https:// doi.org/10.3390/arts12030115 Academic Editor: John Zarobell Received: 29 March 2023 Revised: 23 May 2023 Accepted: 28 May 2023 Published: 31 May 2023 Copyright: © 2023 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https:// creativecommons.org/licenses/by/ 4.0/). arts Article Street Guide as a Literary Genre: La Manada City María del Mar López-Cabrales 1, Joseph Cabeza-Lainez 2and Inmaculada Rodriguez-Cunill 3,* 1Department of Languages, Literatures, and Cultures, Colorado State University, Clark Building C-104, Fort Collins, CO 80523, USA; [email protected] 2Department of Architectural Composition, University of Seville, Av. Reina Mercedes 2, 41012 Sevilla, Spain; [email protected] 3Department of Painting, University of Seville, Laraña 3, 41003 Sevilla, Spain *Correspondence: [email protected] Abstract: This study thoroughly examines La Manada (The Wolf Pack) City, an artwork that illuminates the various forms of violence and oppression experienced by urban communities, particularly women and marginalized groups. Our research specifically focuses on the literary elements of this painted map which demonstrates the transition from defensive to artistic strategies as a means of survival. Initially, we aim to provide a comprehensive background of the artwork, including its title, social context, the incidents that inspired the idea, and the author’s activism. Subsequently, we scrutinize the literary resources of the 257 items that comprise the street guide of the map. By analysing the various names given to locations on the map, including literary devices and semantic fields, we observe reminiscences of classic surrealist paintings and the artist’s ability to protect herself while revealing the violence hidden behind the guise of antithesis, alliteration, metaphor, and other literary devices. To demonstrate the effectiveness of our research, we compared it to two other maps with different intentions. Our findings confirm the strength of La Manada City, which operates both locally and globally. As a representation of the former emporium city of Seville, our map exposes the adverse impact of dominant capitalistic strategies on community life, perpetuating inequalities for countless “poor owners of the world” by disregarding nature and culture. Keywords: urbanism; surrealism; literary devices; maps and plans; cities; gender; painting; architecture; literary genre; poetry 1. Introduction In 2019, in the group exhibition Maculadas sin Remedio, there was a two-piece pictorial work representing a map. Its title was La Manada City (The Wolf Pack City), and its subtitle was Commemorative Map of the last four centuries of Patriarchy. In the exhibition catalogue, however, only one of the pieces appeared containing the work’s title, and it was announced as a work in progress (Rodríguez-Cunill et al. 2019). Nevertheless, the broad media dissemination showed that only two pieces were exhibited. A bilingual street guide accompanied these pieces in English and Spanish. However, in the work of art, the names of streets, points of interest, monuments, etc., were written in English. It looked like a vision of Google Earth or Google Maps in the satellite view, with a certain three-dimensionality as it was a collage with different techniques. In several tabs, we were given more information (thumbnails and the number of reviews). The piece of art titled La Manada City was signed under a pseudonym registered as a trademark in 2017—Inma la Inmunda (Inma the Filthy). The artist has used this signature in previous works that depict violent situations (Saint Martin and Marroquín 2022;Rodríguez- Cunill 2021;Rodríguez Muñoz 2019). Inma la Inmunda, the artist in question, is often referred to by a name that she did not choose for herself. Rather, the meaning of this label was given to her by others. However, instead of allowing this insult to define her, Inma la Inmunda has turned it into a source of inspiration for her artwork. Through her clever Arts 2023,12, 115. https://doi.org/10.3390/arts12030115 https://www.mdpi.com/journal/arts Arts 2023,12, 115 2 of 20 incorporation of this label into her pieces, she effectively reclaims the insult and transforms it into something powerful and meaningful. That is why she collects the traces of that psychological violence, whether by printing the anonymous messages received in her work, by printing the denigrating reports about her that have been hidden, or even by collecting silver blister packs of pills. In fact, some of her works were created using blister packs of pills collected by Inma la Inmunda and others were based on anonymous messages received during a prolonged period of workplace harassment. It should be mentioned that the artist goes by the pseudonym “Inma la Magnánima” (Inma the Magnanimous) in pieces that do not incorporate violence-generated materials (Cunill 2021). This research is crucial as it sheds light on the artistic processes employed in a unique and complex pictorial work that is still evolving. By studying this artwork, we aim to bring attention to systemic violence, a theme already present in the artist’s previous works. In addition, the artist’s individual experiences and universal reflections on group mistreatment and psychological attacks will be explored. These two first wood panels of La Manada City are the only ones exhibited so far. However, the work in progress continued during the period of confinement. In 2021, a book was registered in ISBN under the title La Manada City by Inma la Inmunda. Apart from other previous works, it contained a painting collage of eight pieces of a large map of violence. The first two pieces coincided with those exhibited in Maculadas sin Remedio. In addition, their arrangement allowed a horizontal reading (Figure 1) from left to right (1.5 × 8 m) or a visualization similar to many maps in a format of 3 ×4 m (Figure 2). Arts 2023, 12, x FOR PEER REVIEW 2 of 21 her clever incorporation of this label into her pieces, she effectively reclaims the insult and transforms it into something powerful and meaningful. That is why she collects the traces of that psychological violence, whether by printing the anonymous messages received in her work, by printing the denigrating reports about her that have been hidden, or even by collecting silver blister packs of pills. In fact, some of her works were created using blister packs of pills collected by Inma la Inmunda and others were based on anonymous messages received during a prolonged period of workplace harassment. It should be mentioned that the artist goes by the pseudonym “Inma la Magnánima” (Inma the Magnanimous) in pieces that do not incorporate violence-generated materials (Cunill 2021). This research is crucial as it sheds light on the artistic processes employed in a unique and complex pictorial work that is still evolving. By studying this artwork, we aim to bring attention to systemic violence, a theme already present in the artist’s previous works. In addition, the artist’s individual experiences and universal reflections on group mistreatment and psychological attacks will be explored. These two first wood panels of La Manada City are the only ones exhibited so far. However, the work in progress continued during the period of confinement. In 2021, a book was registered in ISBN under the title La Manada City by Inma la Inmunda. Apart from other previous works, it contained a painting collage of eight pieces of a large map of violence. The first two pieces coincided with those exhibited in Maculadas sin Remedio. In addition, their arrangement allowed a horizontal reading (Figure 1) from left to right (1.5 × 8 m) or a visualization similar to many maps in a format of 3 × 4 m (Figure 2). This artwork is vital because it presents different levels of reading that illustrate the problem of violence in a city. Furthermore, given the verbal dimension of this pictorial work in the form of a map, it seems pivotal to carry out a linguistic and literary analysis of the clues about the city of violence that we see represented in La Manada City. However, due to the map’s features, which could be extended indefinitely, finding more linguistic data in future pieces could be possible. Literature has numerous antecedents of descriptions of cities from an emotional point of view and from the injustices that occur in the world and, therefore, in cities. For example, in the 15th century, Christine de Pizán (de Pizán and Lemarchand [1405] 2022) created a city of ladies responding to the misogyny of men in society, especially clergymen. In his written account of walking by the Hypocrisy Street, Quevedo (1627) described the moral evils of the cities of his time. Reflection on cities from an emotional point of view has been a constant in the Western world and has highlighted what single oppressive thought and propaganda hide. The map of La Manada City is explicitly developed in the artistic, university, and antiwomen spheres but also operates, as we shall see, at different levels (from the autographical to the community, local, and global). We will trace the path from the use of the language to the conclusions about the value of this artwork as a means of surviving in a hostile environment. In previous works, one of the authors has documented the Diary of Incidents, a tool for psychological and legal use in case of group harassment (Rodríguez-Cunill 2021). They can be considered the original starting point for the literary process of Inma la Inmunda. We will investigate the mental processes underlying her creative labour in La Manada City. Before proceeding, it is essential to examine the context behind the creation of this map. Figure 1. La Manada City, Commemorative map of the last four centuries of Patriarchy, by Inma la Inmunda. 2018–2021. Work in progress in a painting shape. Eight pieces (100 × 150 cm each). Horizontal layout. Pill blisters, exoskeletons of stuffed sea animals, pieces of methacrylate, and other objects from recycling. Acrylics, lacs, and oil painting on wood. Source: Inma la Inmunda. This artwork is vital because it presents different levels of reading that illustrate the problem of violence in a city. Furthermore, given the verbal dimension of this pictorial work in the form of a map, it seems pivotal to carry out a linguistic and literary analysis of the clues about the city of violence that we see represented in La Manada City. However, due to the map’s features, which could be extended indefinitely, finding more linguistic data in future pieces could be possible. Literature has numerous antecedents of descriptions of cities from an emotional point of view and from the injustices that occur in the world and, therefore, in cities. For example, in the 15th century, Christine de Pizán (de Pizán and Lemarchand [1405] 2022) created a city of ladies responding to the misogyny of men in society, especially clergymen. In his written account of walking by the Hypocrisy Street, Quevedo (1627) described the moral evils of the cities of his time. Reflection on cities from an emotional point of view has been a constant in the Western world and has highlighted what single oppressive thought and propaganda hide. The map of La Manada City is explicitly developed in the artistic, university, and antiwomen spheres but also operates, as we shall see, at different levels (from the autographical to the community, local, and global). We will trace the path from the use of the language to the conclusions about the value of this artwork as a means of surviving in a hostile environment. In previous works, one of the authors has documented the Diary of Incidents, a tool for psychological and legal Arts 2023,12, 115 3 of 20 use in case of group harassment (Rodríguez-Cunill 2021). They can be considered the original starting point for the literary process of Inma la Inmunda. We will investigate the mental processes underlying her creative labour in La Manada City. Before proceeding, it is essential to examine the context behind the creation of this map. Arts 2023, 12, x FOR PEER REVIEW 3 of 21 Figure 1. La Manada City, Commemorative map of the last four centuries of Patriarchy, by Inma la Inmunda. 2018–2021. Work in progress in a painting shape. Eight pieces (100 × 150 cm each). Horizontal layout. Pill blisters, exoskeletons of stuffed sea animals, pieces of methacrylate, and other objects from recycling. Acrylics, lacs, and oil painting on wood. Source: Inma la Inmunda. Figure 2. La Manada City, Commemorative map of the last four centuries of Patriarchy, by Inma la Inmunda. 2018–2021. Work in progress in a painting shape. Eight pieces (100 × 150 cm each). 4:3 disposition in two rows. Pill blisters, exoskeletons of stuffed sea animals, pieces of methacrylate, and other objects from recycling. Acrylics, lacs, and oil painting on wood. Source: Inma la Inmunda. 2. Context The first piece of the work, which includes its title, was showcased to the public in an exhibition that started on 10 January 2019, so the concept dates back to 2018, with various events occurring in Seville and Spain triggering the inception of La Manada City. 1. The 400th anniversary of the birth of Sevillian painter Bartolomé Esteban Murillo was celebrated with the Murillo Year event, showcased both inside and outside the city. The event was a collaborative effort of various institutions to bring Baroque painting closer to citizens and visitors alike. Our guiding thread is “Murillo’s innovative gaze,” which links his innovative contributions to the modern and cultural capital of the Seville of today, a benchmark for quality tourism and a great urban art gallery that seamlessly intertwines history and innovation, past, and present (Murillo 2018). The painter’s work was not analyzed from a gender perspective, nor was it acknowledged how his propagandistic painting could negatively affect women and women painters. This is particularly relevant when considering his visual representation Figure 2. La Manada City, Commemorative map of the last four centuries of Patriarchy, by Inma la Inmunda. 2018–2021. Work in progress in a painting shape. Eight pieces (100 × 150 cm each). 4:3 disposition in two rows. Pill blisters, exoskeletons of stuffed sea animals, pieces of methacrylate, and other objects from recycling. Acrylics, lacs, and oil painting on wood. Source: Inma la Inmunda. 2. Context The first piece of the work, which includes its title, was showcased to the public in an exhibition that started on 10 January 2019, so the concept dates back to 2018, with various events occurring in Seville and Spain triggering the inception of La Manada City. 1. The 400th anniversary of the birth of Sevillian painter BartoloméEsteban Murillo was celebrated with the Murillo Year event, showcased both inside and outside the city. The event was a collaborative effort of various institutions “to bring Baroque painting closer to citizens and visitors alike. Our guiding thread is “Murillo’s innovative gaze,” which links his innovative contributions to the modern and cultural capital of the intertwines history and innovation, past, and present” (Murillo 2018). The painter’s work was not analyzed from a gender perspective, nor was it acknowledged how his propagandistic painting could negatively affect women and women painters. Arts 2023,12, 115 4 of 20 This is particularly relevant when considering his visual representation of the Immaculate Conception of Mary, which eventually led to the Vatican’s acceptance of this dogma in 1854. The proposal of Maculadas Sin Remedio (where the first two pieces of La Manada City were exhibited) was intended to fill the void that had not been addressed institutionally, highlighting the importance of women’s initiatives in the art world. Interestingly, specific spaces in La Manada City are marked by painted versions of hands found in various works by Murillo. 2. April 2018 was a key date in which an important media and social debate began. That month, the Provincial Court of Navarra convicted five aggressors for sexual abuse. During the San Fermín festival in Pamplona in 2016, a group of five males brutally raped a young woman in the doorway of a building. The court decision raised the alarm and discussions about consent, the right to privacy, the ideal of “the good victim,” the need for gender sensitization of the judiciary, the good health of feminism, and the mobilization of anti-feminism . . . This case received significant global attention and was even a topic of discussion in the European Parliament. The UN Women’s Sexual Harassment Coordinator, Puna Sen, criticized the sentence, stressing the importance of safeguarding women’s rights. Despite this, a higher judicial authority upheld the ruling in December 2018 (Sánchez-Ramos 2021), and the ongoing debate continues concerning its impact on Spanish law. However, it is worth noting that it was precisely in 2018 when Inma la Inmunda used the name “La Manada” to create a pictorial map of the city. Since the case arrived in the media, the name “La Manada” has carried multidimensional connotations that have sparked political debates in pre-election periods and the approval of laws affecting women’s rights. Nonetheless, using the name “La Manada” was fitting for the painting in 2018 since the five attackers in the case hailed from Seville, which is a significant detail . Inma la Inmunda had been bringing attention to incidents of group violence in her workplace, and 2018 marked the 10th anniversary of the foundation of the Platform Against Workplace Harassment and for Democracy at the University of Seville. After ten years without artistic output, Inma la Inmunda unveiled her installation Invisibilizaciónin 2017. This installation incorporated pharmaceutical evidence of the treatments she had taken to cope with a case of psychological harassment (Rodríguez-Cunill 2017). The name “La Manada” acquired a special significance in those space-time coordinates: Seville, 2018. Furthermore, the cooperation between wolves within a pack is most apparent in the global imagery during a hunt. A wolf pack may trail a herd of elk or other large prey for days before making its final move (assessing the herd, looking for signs of weakness, etc.). This idea must have been in the imagination of the five Sevillian aggressors of the gang rape case, who gave their Whatsapp group the name “La Manada” (The pack). As a city of violence, Seville is in the background of the imagery developed on the map we are dealing with. 3. Too, the Seville of 2018 was the protagonist in the media for the judicial persecution of three women who participated on Labor Day (1 May 2014) in what was called the parade of the “Insubmissive Pussy” on behalf of the “Guild of the Sacred Rebellious Pussy and the Sacred Burial of Social and Workers’ Rights” (Burgen 2019). In it, the image of a plastic vagina was shown on a processional parade, and humorous leaflets about women’s rights and lyrics for singing songs were handed out at the demonstration. A first complaint by the Spanish Association of Christian Lawyers, considering that it was an attack on the symbols of the Catholic religion, was filed in the first instance (Reviejo 2019). However, the judicial persecution continued over the years, focused on feminist activists in the Sevillian environment. The text of “Anno Murillo, patriarchal underworld” (La Inmunda 2017) alludes to the persecuted feminists; while in the same year 2018, in support of feminist colleagues harassed and other victims of harassment known through the Platform against harassment Arts 2023,12, 115 5 of 20 at work and for Democracy, she creates her particular Sacred Pussy, but this time Insubmissive to the glass ceiling at the University of Seville (Rodríguez-Cunill 2019). In sum, Inma la Inmunda’s artistic silence was broken with the release of her work Invisibilizaciónwhich showcased the activist dimension of her character. In addition, she collected a significant amount of blister packs of pills, mostly from women, which became a part of her latest work La Manada City. This contextualization was essential to highlight her artwork’s literary complexity. 3. Results Our analysis focuses on the linguistic dynamics present in La Manada City regarding specific semantic fields and the identification and explanation of literary devices. In addition, an analysis of the artist’s name, Inma la Inmunda, has been conducted, too, for its connection to the work. 3.1. Linguistic Dynamics According to Semantic Fields Analysing streets, monuments, squares, sites of interest, etc., has yielded numerous results. First, we established key questions to infer which questions the names painted on the map might answer. This provided us with a whole set of 10 terminology clusters that reveal a way of thinking about violence, of which the names of streets and other sites of interest are a response (Table 1). Through this table, we did conclude relevant aspects about the mind that created this violence map. It may be one of the most intriguing traits for the visitor/reader of the La Manada City map since connotations are present in the dynamics of reception, and reading gives value to the strength of this map, which, as we have said, is based on the objective of making concealed violence visible. Indeed, we observe some general trends that reveal a structured thought since the streets, roads, monuments, etc., respond to the key questions, we deduced from the semantic fields finally defined in points 1 to 10. Therefore, we understand this pictorial work as a testimony and study of a broad spectrum of harassment from the autobiographical experience to violence against the planet. In the autobiographical aspects, we have pointed out local references (group 7). For example, the parallelism between the Pantheon of Illustrious Manadians constitutes a veiled reference to the Faculty of Fine Arts in Seville whose basements house the Pantheon of Illustrious Sevillians. The local has much strength here (note 1 of Table 1) and autobiographical thought of the artist passed the Sevillian academic path. The information provided in Table 1, which shows connections between key questions of La Manada City and the artist, semantic fields, and particular cases (names) present in the map, reveals this artwork’s communicational solid dimension. Linguistically it is so impressive that the visual aspects will have to be analysed in another article. Among the semantic fields broken down in Table 1, some of them show specific pedagogical intentions, as they are “connectors with reality” such as the terminology related to criminal acts (abduction, mistreatment, torture . . . ) in group 5, those that direct us to the symptoms suffered by the victims (group 6) and, therefore, entering a field of subjectivity. In this sense, another level of subjectivity is established when the narrator/artist becomes—in a certain way—a “judge” of those guilty of violence, and terms loaded with negativity appear (group 4). This is not odd since, in the emotional terrain, the harassing groups usually manage the collective indignation against the workplace bullying target. This can be a response—the one elaborated by the target/artist—to that violence (Saint Martin 2017). More cryptic elements indeed appear on the surface of the map. However, we must consider that while this map was being elaborated to make the hidden violence visible, it also involved a risk for the author, hence, the decision to write the names of the streets and monuments in English rather than Spanish. Arts 2023,12, 115 6 of 20 Table 1. Linguistic dynamics according to semantic fields (which are also spatial since they indicate places on the map). Number Semantic Field Key Question Cases on the Map 1 The terminology used by the power How would Patriarchy refer to itself? Within this section, we find other close variants which we break down in points 2 and 3. Treasury of the Dowry. World Mankind Heritage. Unanimity Circle Blind Eyewitnesses Avenue Penis Envy Street Overvaluation of Victims Avenue 2 Names of spaces that honor the aggressors, violent people, or perpetrators of crimes What places can pay homage to our best specimens? Patriarchy said. Ego Monument Esplanade of Triumph over Women Great Tent for Indoctrination 3 Terms about ownership, belonging, or membership (even of abstract entities) How does the Patriarchy show its idea that reality and the interpretation of reality belong to Patriarchy itself? Palace of Our Justice Terrace Service for Our Equality Path of Our Truth Saint Selvish Ravine Checkpoint San ParamíSpot Sight 4The terminology describing patriarchal power from outside of it How would someone who opposes patriarchal power refer to spaces built from patriarchal principles? This question can be answered with terminology that includes insults or sometimes shows a visceral position Wickedness Street Trickster Street Way of Systemic Violence Ass-kisser Circle Thicket of Interests Avenue 5Criminal Acts Terminology and Abuse Strategies Which points on the map show crimes, major offenses, and misdemeanours? Abduction Street Glaring Omission Street Group Heist Street Mistreatment Avenue Torture Street 6Terms related to physical and emotional damage What does the victim of violence suffer from? Labored Breathing Avenue The Uneasiness. Housing Estate Suicide Apotheosis Center Sleeplessness Street Depression Alley Anxiolytics Street Accumulated Fatigue Street Boulevard of Antidepressants The Nausea. Shanty Town 7Terms with local references (and author biography references) In which recognizable places have experiences of violence by the author occurred? Pantheon of Illustrious Manadians 1 Evil Arts Faculty Rectorat of the University of the Docks 8 Terms with ecological references or that describe a level of global, planetary violence. Within this section, the terms related to the experience of pandemics are included (they belong to the last quadrants carried out) Arsonist of Mother Earth Avenue Global Conscience Dump Botanical Garden of Plastic Plants Swamp of Extermination (Biosphere Reserve) Model of the Confinement. Site of Global Interest Pandemics Timer 9Terminology related to death and transition to death Slow Death Street Scythe Ride Burial Street Necropolis of Rage Under Control Corridor of Induced Comma 10 Feminist or gender issue terminology Feminists of Feminism Ghetto Feminists of Patriarchy Park Biopolitical Surveillance Industrial Park Biological Determinism Avenue Bike Lane of Gender Binarism Micromachism Laboratory Patriarchal System Setting Central 1 Local reference to Seville. There is a Pantheon of Illustrious Spanish Men in Madrid, but its name does not specify the city of origin of these Illustrious Men. There is also a Pantheon of Illustrious Galicians (a region, a more comprehensive extension than a city or province) and a Pantheon of Illustrious Mariners in San Fernando (in this case, the common denominator is the profession). In this construction, we cannot deny their grandeur pretensions, the architectural recognition of those who changed the History, of those who were its protagonists. The reference to Seville and its Pantheon of Illustrious Sevillians, closely linked to the city and the Faculty of Fine Arts, is evident (Almodovar-Melendo et al. 2018). It is the only Pantheon in Spain where the requirement for being selected is to be born in a city. Arts 2023,12, 115 7 of 20 The pedagogical intention is also revealed through the terminology established from the patriarchal power (groups 1, 2, 3). It serves to detect these language traps, now insinuated creatively. Thus, as we said before, group 4 seems to be a response from outside the patriarchal power and group 10 addresses feminist terminology. In addition, some streets’ enormously sad and pessimistic aspects materialized in the full violence of death and its transition (group 9). It becomes more general looking at the planet’s future (group 8), including some notes on the recent pandemic. Finally, the Global Conscience Dump, the Arsonist of Mother Earth Avenue, or the Swamp of Extermination lead us to the author’s saddest and most generalizing thinking. 3.2. Literary Devices Literary devices provide us with emotional effects with artistic qualities beyond the literalness of walls, pavers, and sidewalks. The metaphors are repeated in variations along the streets. The structures are all metaphors (the street of . . . implies an identification, as it is not “the street of cobblestones”). The literary devices are techniques for guidance in how to read the street guide and the painting. Due to their quality of connection, these literary devices lead us to a reading of the map beyond the stones or walls of the city of the violence. These literary devices lead the reader into an artistic universe. Reality does not appear as it is, but we feel it (Table 2). Considering the examples on the map, the Metaphors of surreal resonances (group 1) lead us to spaces where each name could be a painting or poem title. Thanks to the repetition (group 2), in the Great Grand-Grand Principal, we are referred to the idea of inbreeding, of nepotism, an issue that appears in other areas of the map. However, the repetition of the roots of the two first nouns in the Feminist of Feminism Ghetto refers to the idea of authenticity. On the other hand, the irony of the Feminist of Patriarchy Park (Figure 3) (in group 5) leads us to falsehood and betrayal by including two opposites. Table 2. Literary devices lead the visitor–reader receptor to an emotional universe. Number Literary Devices Comments Examples in the Map 1 Metaphors of surreal resonances The surreal resonances sometimes lead to links between emotional terms and physical devices, the abstract, and the concrete. They share aspects with other stylistic resources as the antithesis. Mechanical Ballad Circle Microscare Street Library of Limiting Beliefs Memory Shrine Decisions Dock Evidence Crusher Street 1 2 Repetitions What places can pay homage to our best specimens? Patriarchy said. Great Grand–Grand Principal Terrace Feminists of Feminism Ghetto 3 Idioms and modified idioms Most cases show combinations of adjectives and nouns to refer to a Monument, way, institution, etc. Hollow Promise Street Recurring Infringement Street Blatant Injustice Avenue Clampdown Street Corridor of Whitened Sepulchers Fake News Street False Friends Academy 4 Antithesis The opposite words are more discordant and provoke sensations of oddness, strangeness, or veiled threat. Pantheon of Turbid Praise Mute Tongue Alley Deaf Complaint Avenue Disbelief Auditorium Empty Changes Lane False Sympathy Street Evil Arts Faculty Glass-ceiling road Arts 2023,12, 115 8 of 20 Table 2. Cont. Number Literary Devices Comments Examples in the Map 5 Irony Pretended Tears Recovery Center Psychosocial Risk Promotion Service Dystopian Present Street Domestication Palace Avenue Elementary School of Illusion of Democracy Feminist of Patriarchy Park G-string Labyrinth 6 Personification Different streets, monuments, and spots act as persons or have sentiments. Calumny Eraser Building Predator Valley Clientelistic Network Building Decisions Dock Wo Betide You Arch Treachery Street Traitor Silence Street 1 This street appears with two different names in the 2021 registered catalog. Therefore, we have shown the actual name on the map. Arts 2023, 12, x FOR PEER REVIEW 9 of 21 Figure 3. Detail of signals of Feminists of Patriarchy Park. Source: Inma la Inmunda. The idioms and set phrases submerge the reader in a habitual thinking process. However, if modified, the sense of uncertainty, instability, and unease becomes more acute and is projected to the reader/viewer (group 3). The feeling of strangeness or veiled threat also happens in antitheses such as Mute Tongue Alley or Disbelief Auditorium. The opposition in the connotations of the terms used (for example, in group 5) is also directed to understand that a said concept is contrary to what it seems. For instance, a Psychosocial Risk Service is not going to protect us from the risks if this Service promotes them instead of preventing them: Psychological Risk Promoting Service (Figure 4a), or we are not going to recover as patients in a center for tears if these tears are faked, pretended (Figure 4b). (a) (b) Figure 4. Details of La Manada City (a) Psychological Risk Promotion Service; (b) Pretended Tears Recovery Center. Source: Inma la Inmunda. In Dystopian Present Street, we have to understand that Dystopia (as Utopia) is a vision of the future (Figure 5a) but in this case, it becomes present. Alternatively, in a school, democratic principles are taught as an illusion (Figure 5b). Figure 3. Detail of signals of Feminists of Patriarchy Park. Source: Inma la Inmunda. The idioms and set phrases submerge the reader in a habitual thinking process. However, if modified, the sense of uncertainty, instability, and unease becomes more acute and is projected to the reader/viewer (group 3). The feeling of strangeness or veiled threat also happens in antitheses such as Mute Tongue Alley or Disbelief Auditorium. The opposition in the connotations of the terms used (for example, in group 5) is also directed to understand that a said concept is contrary to what it seems. For instance, a Psychosocial Risk Service (Figure 4a) is not going to protect us from the risks if this Service promotes them instead of preventing them, or we are not going to recover as patients in a center for tears if these tears are faked, pretended (Figure 4b). In Dystopian Present Street, we have to understand that Dystopia (as Utopia) is a vision of the future (Figure 5a) but in this case, it becomes present. Alternatively, in a school, democratic principles are taught as an illusion (Figure 5b). Arts 2023,12, 115 9 of 20 Arts 2023, 12, x FOR PEER REVIEW 9 of 21 Figure 3. Detail of signals of Feminists of Patriarchy Park. Source: Inma la Inmunda. The idioms and set phrases submerge the reader in a habitual thinking process. However, if modified, the sense of uncertainty, instability, and unease becomes more acute and is projected to the reader/viewer (group 3). The feeling of strangeness or veiled threat also happens in antitheses such as Mute Tongue Alley or Disbelief Auditorium. The opposition in the connotations of the terms used (for example, in group 5) is also directed to understand that a said concept is contrary to what it seems. For instance, a Psychosocial Risk Service is not going to protect us from the risks if this Service promotes them instead of preventing them: Psychological Risk Promoting Service (Figure 4a), or we are not going to recover as patients in a center for tears if these tears are faked, pretended (Figure 4b). (a) (b) Figure 4. Details of La Manada City (a) Psychological Risk Promotion Service; (b) Pretended Tears Recovery Center. Source: Inma la Inmunda. In Dystopian Present Street, we have to understand that Dystopia (as Utopia) is a vision of the future (Figure 5a) but in this case, it becomes present. Alternatively, in a school, democratic principles are taught as an illusion (Figure 5b). Figure 4. Details of La Manada City ( a ) Psychological Risk Promotion Service; ( b ) Pretended Tears Recovery Center. Source: Inma la Inmunda. Arts 2023, 12, x FOR PEER REVIEW 10 of 21 (a) (b) Figure 5. Details of La Manada City (a) Dystopian Present Street, near the Pandemic Timer; (b) Elementary School of Illusion of Democracy. Source: Inma la Inmunda. This stylistic resource leads us to a greater sense of truth because it connects with the intelligence of the receptor, making him/her a participant of a secret (what is and does not seem to be, according to Greimas and Courtés 1979). The semiotic square of veridiction shows the conflict between being and seeming. In Greimassian modalities, the secret is but does not seem to be, the falsehood is not but seems to be, and the truth is and seems to be; meanwhile, the lie seems to be but is not (Greimas and Courtés 1979). If we participate in a secret, we will feel the truth more intensively than the mere truth. In this emotional accompaniment to the reader of the map, the personification (group 6) helps to transfer feelings because the streets are contaminated by human actions, such as a dock that can make decisions or a building that can erase slanders. The universe of sensibility accompanies the reading of this complex and forceful artwork. Anand’s seventh thesis comes true: “The image is not just the Visible, the Text is not just the Sayable” (Anand 2016). 3.3. Around the Alliteration in Inma la Inmunda and Phonetic Devices As we said above, Inma la Inmunda is a registered trademark used to work with traces of violence (anonymous threatening messages, remains of pill blisters packs, denigrating reports …) represented in a logo with a dung beetle that models the detritus on the ground into a perfect sphere (Figure 6). (a) (b) Figure 6. Logos of Inma la Inmunda (a) The pseudonym as a registered trademark. Source: Spanish Patent and Trademark Office M-3683422. Image available at https://www.empresia.es/distintivo/inma-la-inmunda/oepm/m-3683422/, accessed on 30 May 2023; (b) Signature on The Manada City. Source: Inma la Inmunda. Inma la Inmunda has been the signature of several former works, such as the 2017 audio-installation Invisibilization (Rodríguez-Cunill 2021). The first record of actions under this artistic name dates from 2015, in the presentation of Inma la Inmunda and the Esquizos Figure 5. Details of La Manada City ( a ) Dystopian Present Street, near the Pandemic Timer; ( b ) Elementary School of Illusion of Democracy. Source: Inma la Inmunda. This stylistic resource leads us to a greater sense of truth because it connects with the intelligence of the receptor, making him/her a participant of a secret (what is and does not seem to be, according to Greimas and Courtés 1979). The semiotic square of veridiction shows the conflict between being and seeming. In Greimassian modalities, the secret is but does not seem to be, the falsehood is not but seems to be, and the truth is and seems to be; meanwhile, the lie seems to be but is not (Greimas and Courtés 1979). If we participate in a secret, we will feel the truth more intensively than the mere truth. In this emotional accompaniment to the reader of the map, the personification (group 6) helps to transfer feelings because the streets are contaminated by human actions, such as a dock that can make decisions or a building that can erase slanders. The universe of sensibility accompanies the reading of this complex and forceful artwork. Anand’s seventh thesis comes true: “The image is not just the Visible, the Text is not just the Sayable” (Anand 2016). 3.3. Around the Alliteration in Inma la Inmunda and Phonetic Devices As we said above, Inma la Inmunda is a registered trademark used to work with traces of violence (anonymous threatening messages, remains of pill blisters packs, denigrating reports . . . ) represented in a logo with a dung beetle that models the detritus on the ground into a perfect sphere (Figure 6). Inma la Inmunda has been the signature of several former works, such as the 2017 audio-installation Invisibilization (Rodríguez-Cunill 2021). The first record of actions under this artistic name dates from 2015, in the presentation of Inma la Inmunda and the Esquizos Arts 2023,12, 115 16 of 20 the reader with word games and literary devices, insinuating more than explicitly showing, and making the receiver feel more intelligent than when simply reading a street map to orient himself in a city. So far, we have evaluated our map in comparison to another based on temporal simultaneity. However, another tourist map of London from 1914 (Figure 9) is geographically and temporally distant. With its artistically treated surface containing poems and verbal comments, this map lacks the cartographic accuracy found in other maps. Despite lacking critical analysis, this map has been a reference for other charming tourist maps featuring various cities, which can be easily found in souvenir stores. While exploring this question could enhance our study, it is essential to note that the two maps we compared to La Manada City have a stronger relationship with their referent, serving as simple spatial guides. In contrast, Inma la Inmunda’s map has an emotional route rather than a spatial one. References to the city of Seville only appear through the literalization and location of harassment experiences documented on the map. This makes La Manada City a transcendent work for understanding group violence, distancing it from the local level and bringing it closer to the universal. On the other hand, several maps of the city of Seville were created through sentimental, spiritual, or religious precepts, as the map of Seville made from Feng-Shui principles, as we studied in our previous research (Rodríguez-Cunill et al. 2021). Arts 2023, 12, x FOR PEER REVIEW 17 of 21 various cities, which can be easily found in souvenir stores. While exploring this question could enhance our study, it is essential to note that the two maps we compared to La Manada City have a stronger relationship with their referent, serving as simple spatial guides. In contrast, Inma la Inmunda’s map has an emotional route rather than a spatial one. References to the city of Seville only appear through the literalization and location of harassment experiences documented on the map. This makes La Manada City a transcendent work for understanding group violence, distancing it from the local level and bringing it closer to the universal. On the other hand, several maps of the city of Seville were created through sentimental, spiritual, or religious precepts, as the map of Seville made from Feng-Shui principles, as we studied in our previous research (Rodríguez-Cunill et al. 2021). (a) (b) Figure 9. Wonderground Map of London Town, by MacDonald Gill, Leslie. 1915. Source: British Library (Maps 3485). (199). Public Domain. Wikipedia Commons: https://en.wikipedia.org/wiki/Wonderground_Map#/media/File:Wonderground_Map_of_London_Town.jpg, accessed on 30 May 2023. “Published in 1914, By Paying Us Your Pennies—or the Wonderground Map of London Town, as this cartographic icon became known—presents a bird’s eye view of the capital peopled with characters from every walk of life making whimsical quips or puns about road or place names: Men hurl hams in Hurlingham In Earls Court the Earl’s caught!’ A colourful serpent has taken up residence in the Serpentine. Despite its chevrons and heraldic borders, it clearly presents a contemporary portrait of London with its motor cars and B-Type buses and a state-of-the-art monoplane looping the loop in the skies above. Press reports of the time claimed that People spend so long looking at this map—they miss their trains yet go on smiling’ (Daily Sketch, May 1914). Various retail editions were published in the following years, while map-makers across the world were inspired to create Wonder’ maps of their own cities including Melbourne, Mexico City and Barcelona”. 5. Conclusions and Last Questions Our goal of highlighting the literary aspect of the artwork La Manada City and promote it as a tool for survival and resistance against patriarchy and false ideologies that, despite claiming to oppose it, ultimately perpetuate inequality. We started ordering the names given to the places on the map, leading to further questions that could be explored. La Manada City is a complex work that acts as an encyclopedia of violence and should not be overlooked. However, we have seen that only two of its eight pieces could be exhibited, highlighting institutions’ difficulty in confronting the inequalities and injustices depicted in this artwork. This article aims to bring attention to this work, which requires bravery to display, as power often shies away from confronting uncomfortable truths. Figure 9. Wonderground Map of London Town, by MacDonald Gill, Leslie. 1915. Source: British Library (Maps 3485). (199). Public Domain. Wikipedia Commons: https://en.wikipedia.org/wiki/ Wonderground_Map#/media/File:Wonderground_Map_of_London_Town.jpg, accessed on 30 May 2023. “Published in 1914, By Paying Us Your Pennies—or the Wonderground Map of London Town, as this cartographic icon became known—presents a bird’s eye view of the capital peopled with characters from every walk of life making whimsical quips or puns about road or place names: Men hurl hams in Hurlingham In Earls Court ‘the Earl’s caught!’ A colourful serpent has taken up residence in the Serpentine. Despite its chevrons and heraldic borders, it clearly presents a contemporary portrait of London with its motor cars and B-Type buses and a state-of-the-art monoplane looping the loop in the skies above. Press reports of the time claimed that ‘People spend so long looking at this map—they miss their trains yet go on smiling’ (Daily Sketch, May 1914). Various retail editions were published in the following years, while map-makers across the world were inspired to create ‘Wonder’ maps of their own cities including Melbourne, Mexico City and Barcelona”. 5. Conclusions and Last Questions Our goal was to highlight the literary aspect of the artwork La Manada City and promote it as a tool for survival and resistance against patriarchy and false ideologies that, despite claiming to oppose it, ultimately perpetuate inequality. We started ordering the Arts 2023,12, 115 17 of 20 names given to the places on the map, leading to further questions that could be explored. La Manada City is a complex work that acts as an encyclopedia of violence and should not be overlooked. However, we have seen that only two of its eight pieces could be exhibited, highlighting institutions’ difficulty in confronting the inequalities and injustices depicted in this artwork. This article aims to bring attention to this work, which requires bravery to display, as power often shies away from confronting uncomfortable truths. After analyzing semantic fields and literary devices, we have discovered connections between our map and Seville. We have also found the linguistic origin of many space names and their relationship with Inma la Inmunda’s hometown. Surrealistic linguistic elements were also present. In conclusion, we have specific questions that need to be addressed regarding our primary objective of highlighting La Manada City’s magnificent pictorial-literary work. How is this work positioned within the context of Spanish feminism? Some time ago, we wondered whether feminist writing existed in Spain at the end of the twentieth century (López-Cabrales 2014). The results at the time were contradictory. Spanish women writers were situated between an aversion to being labeled as ‘feminists’ (understood then as radical politics and even lesbianism) and feeling that, as women, they had accomplished quite a lot. However, facts such as the spread of sexual predators in the style of La Manada have proved to be revulsive, not only for the feminist movement but for the concrete creation of the street guide of La Manada City. As we explained, La Manada referred to a well-known case of group violence against women committed by a group of men from Seville against a young woman during the San Fermines festivities in Pamplona. They called their WhatsApp group, where they posted their rape videos, La Manada. Eventually, it was found that the crimes committed in Pamplona had also occurred in other parts of Spain. Women’s reactions to this case, from feminist activism to artivism, have been numerous. As a literary work, the street map of La Manada City is a poetic journey that sinks its feet in encyclopedic eagerness (very masculine) and surrealism (as a way to overcome the experience of harassment). Intersected by the fact of being a woman, of not having been born where the harassment took place, for developing her artistic and professional work in a patriarchal environment, the work of Inma La Inmunda is a unique product that deserves more research (such as the meaning of gold in the artwork, not as a subsidy of power, but as a subversion, a practical alliance with other minorities on the planet who have within their reach shiny discarded objects that, although not composed of this precious metal, bring out a discourse of luxury in poverty, scarcity, and precariousness). What are the future possibilities of this work in progress since it manifests a dynamic of concealment? We have rescued a work that is not exhibited in its entirety and that deals with such problematic issues for the environment where it was born that it has complicated exhibition possibilities. However, this does not prevent us from recognizing a completely new expression that reworks past issues and denounces and seeks beauty in an environment of violence. Certain correspondences with reality seem to be found on the map, but they are cryptically established as if the author was protecting herself. This is the same protective effect as the apotropaic elements, whose linguistic forms use stylistic devices such as periphrasis or puns to evade the danger from the outside. On the other hand, we suspect that specific names written on the map may hide agents of the gang of harassment, a question that, in some interviews, the author has insinuated with the case of the name Angels (Harassing Angels Chapel). Even on the visual level, there are portraits of possible stalkers that cannot be recognized (the fact of acknowledging them could be a menace to the artist) and other forms of human members that give us clues of a more than uncomfortable reality: this happens in the phallic Stained-Mouth Prick Memorial or those miniature blurred portraits of the Feminists of Patriarchy Park label (Figure 3). Arts 2023,12, 115 18 of 20 What are the future possibilities of this work in progress since it manifests an outward dynamic? Each of the spaces on this map may contain the germ of more works (the titles of the streets and other points hint at the possibility of new creations in the manner of an analogical hypertext). We are convinced that La Manada City is a model of maximalist principles applied to painting. The artist has repeatedly demonstrated against the authoritarianism “of Ikea” of minimalism with nothing to say. In addition, Inma la Inmunda has a lot to tell. Some too many aspects and nuances emerge from the experiences of group violence maintained over time. On the other hand, as we have seen, the map and the street map have an encyclopaedic ambition, so it is still a work in progress. Author Contributions: Conceptualization, I.R.-C.; methodology, I.R.-C. and J.C.-L.; software, I.R.-C. and J.C.-L.; formal analysis, I.R.-C. and M.d.M.L.-C.; investigation, I.R.-C. and M.d.M.L.-C.; resources, I.R.-C.; writing—original draft preparation, I.R.-C.; writing—review and editing, I.R.-C., J.C.-L. and. M.d.M.L.-C.; visualization, I.R.-C.; supervision, I.R.-C. and M.d.M.L.-C.; project administration, I.R.-C.; funding acquisition, I.R.-C. All authors have read and agreed to the published version of the manuscript. Funding: This research was funded by EU, NextGenerationEU, through Ministerio de Universidades and University of Seville, grant number 19994. Arts 2023, 12, x FOR PEER REVIEW 19 of 21 violence maintained over time. On the other hand, as we have seen, the map and the street map have an encyclopaedic ambition, so it is still a work in progress. Author Contributions: Conceptualization, I.R.-C.; methodology, I.R.-C. and J.C.-L.; software, I.R.- C. and J.C.-L.; formal analysis, I.R.-C. and M.d.M.L.-C.; investigation, I.R.-C. and M.d.M.L.-C.; resources, I.R.-C.; writing—original draft preparation, I.R.-C.; writing—review and editing, I.R.-C., J.C.-L. and. M.d.M.L.-C.; visualization, I.R.-C.; supervision, I.R.-C. and M.d.M.L.-C.; project administration, I.R.-C.; funding acquisition, I.R.-C. All authors have read and agreed to the published version of the manuscript. Funding: This research was funded by EU, NextGenerationEU, through Ministerio de Universidades and University of Seville, grant number 19994. Data Availability Statement: Not applicable. Acknowledgments: Authors appreciate the wisdom and experience of Aitor Lanjarin-Encina and the Department of Art and Art History of the Colorado State University, the help and generosity of Jonathan Carlyon, Chair of the Department of Languages, Literatures and Cultures of the Colorado State University, the open-mindedness and efficacy of Erin Tomkins (International Student and Scholar Services of CSU), and Gretchen Zarle-Lightfoot (assistant to the editor of Confluencia, Revista Hispánica de Cultura y Literatura). Moreover, we would like to highlight the extraordinary assistance of the International Women’s Club of Fort Collins International Center, especially from Sara Hunt. We cannot forget the expertise and kindness of Karen Smith (English teacher at Fort Collins International Center) and our deep love for the outstanding ELS instructor Andrea Heyman. In addition, we thank the careful and generous work of the Front Range Community College staff in Fort Collins. Conflicts of Interest: The authors declare no conflicts of interest. Notes 1. The literary technique of alliteration is frequently employed in surrealism and dadaism. However, it is worth noting that postist poet Carlos Edmundo de Ory also heavily utilizes this technique. Inma la Inmunda, who knew de Ory in person, drew inspiration from his phonetic games and incorporated them into her artistic creations. Unfortunately, the phonetic qualities of de Ory’s poem “Fonemoramas” cannot be fully conveyed in an English translation. The Spanish title alone underscores its phonetic significance: “Si canto soy un cantueso/Si leo soy un león/Si emano soy una mano/Si amo soy un amasijo/Si lucho soy un serrucho/Si como soy como soy soy/Si rio soy un río de risa/Si duermo enfermo de dormir/Si fumo me fumo hasta el humo/Si hablo me escucha el diablo/Si miento me invento una verdad/Si me hundo me Carlos Edmundo.” (“If I sing, I am a cantueso/If I read, I am a lion/If I emanate, I am a hand/If I love, I am a tangle/If I fight, I am a saw/If I eat, I am what I eat/If I laugh, I am a river of laughter/If I sleep, I am sick of sleeping/If I smoke, I smoke until the smoke/If I speak, the devil listens/If I lie, I invent a truth/If I sink, I am Carlos Edmundo”). 2. Girondo’s poem entitled “Sevillano” shows this reality of rites that may seem surreal if you are not familiar with the city of Seville. “Sevillano”/In the atrium: a veritable gathering of blind men, even with a badge, a pack of children, barking for a bitch/ The church is refrigerated so that the votive offerings of eyes and arms do not melt .../Beneath their stiff mantles, virgins raise ruby tears. Some have ponytail hair. Others wear their hearts like a cushion of pins/A cowbell of keys permeates the gloom with a heavy sacristy odor. An ancestral orangutan revives in an old woman when she crosses her forehead./And meanwhile, in front of the high altar, the women’s genitals liquefy contemplating a crucifix that bleeds from its sixty-six ribs, and the priest chews a prayer as if it were a “chewing gum.” Translated into English by Cabeza-Lainez. Available in Spanish at: https://www.poeticous.com/girondo/sevillano?locale=es, accessed on 30 May 2023. 3. One was the conference “Once upon a time ... POSTISM”, held in San Roque (Cádiz), from 15 to 17 July 1987. References (Almodovar-Melendo et al. 2018) Almodovar-Melendo, Jose-Manuel, Joseph-Maria Cabeza-Lainez, and Inmaculada Rodriguez- Cunill. 2018. Lighting Features in Historical Buildings: Scientific Analysis of the Church of Saint Louis of the Frenchmen in Sevilla. Sustainability 10: 3352. https://doi.org/10.3390/su10093352 (Anand 2016) Anand, Shaina. 2016. 10 Thesis on the Archive. In Autonomous Archiving. Edited by Artikişler Collective. Barcelona: dprbarcelona, pp. 79–94. Available online: https://monoskop.org/images/c/cd/Artikisler_Collective_ed_Autonomous_Archiv- ing_2016.pdf (accessed on 30 May 2023). Data Availability Statement: Not applicable. Acknowledgments: Our heart goes out to the late artist Eva Guil Walls (a Dadaist pioneer in Seville whose artistic trajectory was hidden while new generations of Andalusian artists put her findings into practice); Eva Guil Walls accompanied the realization of the first two pieces of La Manada City and played a fundamental role in the group exhibition Maculadas sin Remedio . Authors appreciate the wisdom and experience of Aitor Lanjarin-Encina and the Department of Art and Art History of the Colorado State University, the help and generosity of Jonathan Carlyon, Chair of the Department of Languages, Literatures and Cultures of the Colorado State University, the open-mindedness and efficacy of Erin Tomkins (International Student and Scholar Services of CSU), and Gretchen Zarle- Lightfoot (assistant to the editor of Confluencia, Revista Hispánica de Cultura y Literatura). Moreover, we would like to highlight the extraordinary assistance of the International Women’s Club of Fort Collins International Center, especially from Sara Hunt. We cannot forget the expertise and kindness of Karen Smith (English teacher at Fort Collins International Center) and our deep love for the outstanding ELS instructor Andrea Heyman. In addition, we thank the careful and generous work of the Front Range Community College staff in Fort Collins. Conflicts of Interest: The authors declare no conflict of interest. Notes 1 The literary technique of alliteration is frequently employed in surrealism and dadaism. However, it is worth noting that postist poet Carlos Edmundo de Ory also heavily utilizes this technique. Inma la Inmunda, who knew de Ory in person, drew inspiration from his phonetic games and incorporated them into her artistic creations. Unfortunately, the phonetic qualities of de Ory’s poem “Fonemoramas” cannot be fully conveyed in an English translation. The Spanish title alone underscores its phonetic significance: “Si canto soy un cantueso/Si leo soy un león/Si emano soy una mano/Si amo soy un amasijo/Si lucho soy un serrucho/Si como soy como soy soy/Si rio soy un río de risa/Si duermo enfermo de dormir/Si fumo me fumo hasta el humo/Si hablo me escucha el diablo/Si miento me invento una verdad/Si me hundo me Carlos Edmundo.” (“If I sing, I am a cantueso/If I read, I am a lion/If I emanate, I am a hand/If I love, I am a tangle/If I fight, I am a saw/If I eat, I am what I eat/If I laugh, I am a river of laughter/If I sleep, I am sick of sleeping/If I smoke, I smoke until the smoke/If I speak, the devil listens/If I lie, I invent a truth/If I sink, I am Carlos Edmundo”). 2 Girondo’s poem entitled “Sevillano” shows this reality of rites that may seem surreal if you are not familiar with the city of Seville. “Sevillano”/In the atrium: a veritable gathering of blind men, even with a badge, a pack of children, barking for a bitch/ The church is refrigerated so that the votive offerings of eyes and arms do not melt . . . /Beneath their stiff mantles, Arts 2023,12, 115 19 of 20 virgins raise ruby tears. Some have ponytail hair. Others wear their hearts like a cushion of pins/A cowbell of keys permeates the gloom with a heavy sacristy odor. An ancestral orangutan revives in an old woman when she crosses her forehead./And meanwhile, in front of the high altar, the women’s genitals liquefy contemplating a crucifix that bleeds from its sixty-six ribs, and the priest chews a prayer as if it were a “chewing gum.” Translated into English by Cabeza-Lainez. Available in Spanish at: https://www.poeticous.com/girondo/sevillano?locale=es, accessed on 30 May 2023. 3One was the conference “Once upon a time . . . POSTISM”, held in San Roque (Cádiz), from 15 to 17 July 1987. References Almodovar-Melendo, Jose-Manuel, Joseph-Maria Cabeza-Lainez, and Inmaculada Rodriguez-Cunill. 2018. Lighting Features in Historical Buildings: Scientific Analysis of the Church of Saint Louis of the Frenchmen in Sevilla. Sustainability 10: 3352. [CrossRef] Anand, Shaina. 2016. 10 Thesis on the Archive. 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