The Cosmic Flower Bifrontality and Thirdness in Jorge Acha’s Amapola
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Abstract
The article aims to analyze the structure of characters in the film screenplay Amapola by Jorge Acha drawing a parallelism with the tricotomic cosmological structure proposed by Charles Sanders Peirce. Likewise the vegetal metaphysics of Maurice Maeterlinck and Emanuele Coccia are recovered, especially in their conception of the flower as a mediating element between the terrestrial and the aerial, and what this hypothesis has of similarity with the Peircean conception and, therefore, according to our proposal, with that of Acha's script. Thus, we proceed methodologically by explaining and arguing the similarities between the cosmologies of the analyzed text and the proposed philosophical sources. In this way, the essay seeks to show how the script has a form based on oppositions with continuity between its parts that bring it closer, in that sense, to the baroque aesthetic and differentiate it from the oppositions without continuity that structure the dominant thought and worldview in the West.
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