Papers by Jorge Vergara
Accadere, 2024
Sob o controle do escritor Manuel Bastos Tigre, a revista carioca D. Quixote (1917-1926) publicou... more Sob o controle do escritor Manuel Bastos Tigre, a revista carioca D. Quixote (1917-1926) publicou conteúdo preconceituoso para questionar o movimento modernista paulista entre 1920 e 1926. Em forma de humor e com recursos textuais e visuais, D. Quixote veiculou capacitismo, misoginia, homofobia, racismo e a estigmatização de práticas musicais e populares. Para qualificar a intensidade da expressão preconceituosa em publicações do processo, o autor definiu a categoria agressividade expressiva. Em razão da sincronia e similitude de parte do conteúdo, foram comparados elementos do processo de D. Quixote com elementos das campanhas antimodernistas dos jornais paulistas A Gazeta (1921-1922) e Folha da Noite (1923). A pesquisa com palavras-chave na Hemeroteca Digital da Biblioteca Nacional do Brasil permitiu encontrar o material comentado. Consideram-se os argumentos de pesquisadores do humor e da história do Brasil. Este informe registra os nomes e obras questionados na recepção do modernismo paulista no Rio de Janeiro, e aporta saber sobre a construção social do preconceito. Especialistas da área do jornalismo, escritores e humoristas produziram conteúdo preconceituoso para debater arte.
In Rio de Janeiro, under the control of Brazilian writer Manuel Bastos Tigre, the D. Quixote magazine (1917-1926) published prejudiced content to question the São Paulo modernist movement between 1920 and 1926. In the form of humor and in textual and visual resources, D. Quixote conveyed ableism, misogyny, homophobia, racism, and the stigmatization of musical and popular practices. To qualify the intensity of prejudiced expression in publications of the process, the author defined the expressive aggressiveness category. Due to the synchrony and similarity of part of the content, elements of D. Quixote's process were compared with elements of the anti-modernist campaigns of the São Paulo newspapers A Gazeta (1921-1922) and Folha da Noite (1923). A keyword search in the Digital Newspaper Library of the Brazilian National Library allowed us to find publications. The arguments of researchers in humor and Brazilian history were considered. This report records the names and artworks questioned at the reception of São Paulo modernism in Rio de Janeiro, and provides knowledge about the social construction of prejudice. Journalists, writers, and humorists produced prejudiced content to debate art.
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Outra Travessia, 2023
Neste informe se analisam dois textos em que Mário de Andrade citou a obra do escritor Oscar Wild... more Neste informe se analisam dois textos em que Mário de Andrade citou a obra do escritor Oscar Wilde, e o artigo que Francisco Pati publicou na campanha de higiene estética e moral da Folha da Noite em 1923. Andrade implicou o homoerotismo no poema “Paisagem N. 3” de Pauliceia desvairada e mencionou algumas frases do livro De profundis no seu discurso de paraninfo em 1923. No segundo texto, Andrade não indicou sentidos homoeróticos, ele promoveu o estudo de músicas socialmente estigmatizadas que abordavam temas eróticos. Sem citar a homossexualidade e Mário de Andrade explicitamente, Pati criticou e associou pejorativamente os modernistas paulistas e Andrade à homossexualidade. O debate sobre Wilde permite observar a construção social da homofobia.
This report analyzes two texts in which Mário de Andrade cited the work of the writer Oscar Wilde, and the article that Francisco Pati published in the Folha da Noite aesthetic and moral hygiene campaign in 1923. Andrade implies homoeroticism in the poem "Paisagem N. 3" by Pauliceia Desvairada and quotes some phrases from De profundis in his graduation speech in 1923. In the second text, Andrade does not imply homoerotic meanings, he promoted the study of socially stigmatized songs that addressed erotic themes. Without explicitly mentioning homosexuality and Mário de Andrade, Pati criticizes and pejoratively associates São Paulo modernists and Andrade with homosexuality. The debate about Wilde allows observing the social construction of homophobia.
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Revista Humanidades, 2024
O objetivo do presente artigo é a verificação da existência e a análise do preconceito na campanh... more O objetivo do presente artigo é a verificação da existência e a análise do preconceito na campanha do jornal A Gazeta de São Paulo contra o movimento modernista entre 1921 e 1922. Os textos foram encontrados por meio de pesquisa com palavras-chave na Hemeroteca Digital da Biblioteca Nacional do Brasil. A Gazeta produziu distintos tipos de textos jornalísticos e veiculou capacitismo, homofobia, misoginia e racismo. O jornal empregou pejorativamente termos musicais vinculados à cultura negra, indígena e popular. Durante a campanha vários artistas foram mencionados, mas entre os autores que os jornalistas criticaram e injuriaram destaca-se o modernista Mário de Andrade. O autor deste informe fez análise de textos com preconceito explícito e registrou considerações sobre o caráter e alguns efeitos do preconceito. A análise da “reação antifuturista” revela a incipiente recepção de Andrade e do movimento modernista, o uso do preconceito no debate artístico, e a construção social do preconceito.
The purpose of this article is to verify the existence and analyze the prejudiced content of the newspaper A Gazeta de São Paulo’s campaign against the modernist movement between 1921 and 1922. The texts were found by searching with keywords in the Digital Newspaper Library of the National Library of Brazil. It was determined that A Gazeta produced different types of journalistic texts that conveyed ableism, homophobia, misogyny, and racism. In addition, musical terms were derogatorily linked to black, indigenous, and popular culture. During the campaign, several artists were mentioned, including modernist Mário de Andrade, who was criticized and reviled. Therefore, it was established that the author analyzed texts with explicit prejudice and recorded considerations about the character and effects of prejudice. The analysis of the “anti-futurist reaction” reveals the incipient reception of Andrade and the modernist movement, the use of prejudice in the artistic debate, and the social construction of prejudice.
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Con X, 2021
La expresión «mozos bonitos» tuvo múltiples sentidos y circuló en periódicos brasileños en la pri... more La expresión «mozos bonitos» tuvo múltiples sentidos y circuló en periódicos brasileños en la primera mitad del siglo veinte. Junto a otros sentidos, fue referencia para el afeminamiento, la homosexualidad, el travestismo, el transformismo y la prostitución masculina.
Registro la existencia de algunos varones que se identificaron e incorporaron nombres, indumentaria, maquillaje y actitudes de mujeres, prostitutas y artistas mujeres. Comento las voces «almohadilla» (almofadinha), «travesti» y «transformista». Considero textos de especialistas en homosexualidad de la época y la literatura académica.
The expession «pretty boys» had multiple meanings and circulated in Brazilian newspapers in the first half of the twentieth century. Along with other senses, it was a reference for effeminacy, homosexuality, transvestism, transformism and male prostitution.
I register the existence of some men who identified themselves and incorporated the names, clothing, makeup, and attitudes of women, prostitutes, and female artists. I comment on the voices «pad» (almofadinha), «transvestite», and «transformist». I consider texts by specialists in homosexuality of the time and academic literature.
A expressão «moços bonitos» teve múltiples sentidos e circulou em periódicos brasileiros na primeira metade do século vinte. Junto a outros sentidos, ela foi referência para a afeminação, a homossexualidade, o travestismo, o transformismo e a prostituição masculina.
Eu registro a existência de alguns varões que se identificaram e usaram nomes, roupas, maquiagem e atitudes de mulheres, prostitutas e artistas mulheres. Comento os termos «almofadinha», «travesti», e «transformista». Considero textos de especialistas em homossexualidade da época e a literatura acadêmica.
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Revista Música, 2019
La argumentación de este artículo se estructura en la siguiente forma: el reconocimiento de algun... more La argumentación de este artículo se estructura en la siguiente forma: el reconocimiento de algunos artistas percibidos como afeminados y de otros como homosexuales coexistió con la reproducción de prejuicios en el discurso médico y literario. Y las mujeres son mayoría numérica en instituciones de enseñanza musical, y en paralelo, el discurso médico y literario reproduce la creencia en la inferioridad femenina. A partir del texto de una conferencia sobre Chopin, analizo tres temas del médico y escritor Aloysio de Castro mediante su contraste con las ideas de cuatro especialistas en homosexualidad y algunas ideas del musicólogo Mário de Andrade. Las fuentes primarias son de la primera mitad del siglo veinte, y mis apreciaciones tienen referencias en mi revisión de la literatura sobre racismo, género y música.
The argumentation of this article is structured as follows: the recognition of some artists perceived as effeminate and of others as homosexuals coexisted with the reproduction of prejudices in medical and literary discourse. And women are a numerical majority in musical education institutions, and in parallel, medical and literary discourse reproduces the belief in female inferiority. From the text of a conference on Chopin, I analyze three topics of the doctor and writer Aloysio de Castro by contrasting with the ideas of four homosexuality specialists and some ideas of musicologist Mário de Andrade. The primary sources are from the first half of the twentieth century, and my appreciations have references in my review of the literature on racism, gender and music.
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Remate de Males, 2018
Proponho cinco tropos para relacionar as manifestações de homoerotismo com as de subalternidade e... more Proponho cinco tropos para relacionar as manifestações de homoerotismo com as de subalternidade em Paulicea desvairada (1922), de Mário de Andrade: mulheres emendadas, impossíveis, desamparadas; passeios noturnos ou mirar no perigo; congresso de marginais; o medo incita o desejo; e normalidade cativa. Além da estilização poética, a homofobia internalizada de Mário de Andrade permite supor o motivo pelo qual não há clara expressão das ideias homoeróticas e explica em parte a rejeição do imaginário obsceno. A estilização em Paulicea é testemunha de como a sociedade condenou práticas e pessoas à ignomínia e ao silêncio. As insinuações poéticas instigam questionamentos, pensamento e imaginação. Com conceitos da teoria queer, da análise do discurso, da história, da historiografia da homossexualidade no Brasil, através de pesquisa em textos, músicas e a medicina da época mais a correspondência de Mário de Andrade, exploro a temática homoerótica e política que jaz na poesia do musicólogo.
Propongo cinco tropos para relacionar las manifestaciones de homoerotismo con las de subalternidad en Paulicea desvariada (1922), de Mário de Andrade: mujeres enmendadas, imposibles, desamparadas; paseos nocturnos o mirar el peligro; congreso de marginales; el miedo incita el deseo; y normalidad cautiva. Más allá de la estilización poética, la homofobia internalizada de Mário de Andrade permite suponer el motivo por el cual no hay una clara expresión de las ideas homoeróticas y explica en parte el rechazo del imaginario obsceno. La estilización en Paulicea atestigua como la sociedad condenó prácticas y personas a la ignominia y al silencio. Las insinuaciones poéticas instigan cuestionamientos, pensamiento e imaginación. Con conceptos de la teoría queer, del análisis del discurso, de la historia, de la historiografía de la homosexualidad en Brasil, a través de pesquisa en textos, músicas y la medicina de la época junto con la correspondencia de Mário de Andrade, exploro la temática homoerótico y lo político que yaz en la poesía del musicólogo.
I propose five tropes to relate the manifestations of homoeroticism and those of subalternity in Paulicea desvairada (1922), of Mário de Andrade: amended, impossible, helpless women; night’s outing or aim at the danger; marginals’ congress; fear nurture desire; and captive normality. In addition to poetic stylization, internalized homophobia allows one to suppose why there is no clear expression of homoerotic ideas and partly explains the rejection of obscene imagery. Stylizations testify to the manner in which society has condemned practices and people to ignominy and silence. Poetic adumbration stirs questionings, thinking and the imagination. With concepts from queer theory, discourse analysis, history, the historiography of homosexuality in Brazil, through research in texts, music and medicine of the time plus the correspondence of Mario, I explore the homoerotic and political theme that lies in the musicologist’s poetry.
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Remate de Males, 2018
Propongo cinco tropos para relacionar las manifestaciones de homoerotismo con las de subalternida... more Propongo cinco tropos para relacionar las manifestaciones de homoerotismo con las de subalternidad en Paulicea desvariada (1922), de Mário de Andrade: mujeres enmendadas, imposibles, desamparadas; paseos nocturnos o mirar el peligro; congreso de marginales; el miedo incita el deseo; y normalidad cautiva. Más allá de la estilización poética, la homofobia internalizada de Mário de Andrade permite suponer el motivo por el cual no hay una clara expresión de las ideas homoeróticas y explica en parte el rechazo del imaginario obsceno. La estilización en Paulicea atestigua como la sociedad condenó prácticas y personas a la ignominia y al silencio. Las insinuaciones poéticas instigan cuestionamientos, pensamiento e imaginación. Con conceptos de la teoría queer, del análisis del discurso, de la historia, de la historiografía de la homosexualidad en Brasil, a través de pesquisa en textos, músicas y la medicina de la época junto con la correspondencia de Mário de Andrade, exploro la temática homoerótico y lo político que yaz en la poesía del musicólogo.
I propose five tropes to relate the manifestations of homoeroticism and those of subalternity in Paulicea desvairada (1922), of Mário de Andrade: amended, impossible, helpless women; night’s outing or aim at the danger; marginals’ congress; fear nurture desire; and captive normality. In addition to poetic stylization, internalized homophobia allows one to suppose why there is no clear expression of homoerotic ideas and partly explains the rejection of obscene imagery. Stylizations testify to the manner in which society has condemned practices and people to ignominy and silence. Poetic adumbration stirs questionings, thinking and the imagination. With concepts from queer theory, discourse analysis, history, the historiography of homosexuality in Brazil, through research in texts, music and medicine of the time plus the correspondence of Mario, I explore the homoerotic and political theme that lies in the musicologist’s poetry.
Proponho cinco tropos para relacionar as manifestações de homoerotismo com as de subalternidade em Paulicea desvairada (1922), de Mário de Andrade: mulheres emendadas, impossíveis, desamparadas; passeios noturnos ou mirar no perigo; congresso de marginais; o medo incita o desejo; e normalidade cativa. Além da estilização poética, a homofobia internalizada de Mário de Andrade permite supor o motivo pelo qual não há clara expressão das ideias homoeróticas e explica em parte a rejeição do imaginário obsceno. A estilização em Paulicea é testemunha de como a sociedade condenou práticas e pessoas à ignomínia e ao silêncio. As insinuações poéticas instigam questionamentos, pensamento e imaginação. Com conceitos da teoria queer, da análise do discurso, da história, da historiografia da homossexualidade no Brasil, através de pesquisa em textos, músicas e a medicina da época mais a correspondência de Mário de Andrade, exploro a temática homoerótica e política que jaz na poesia do musicólogo.
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Revista Vórtex, 2015
Mário de Andrade – escritor, intelectual y líder de la Semana de Arte Moderna – fue criticado por... more Mário de Andrade – escritor, intelectual y líder de la Semana de Arte Moderna – fue criticado por la Revista de antropofagia en 1929 y por el periódico Dom Casmurro en 1939. En las páginas de la Revista, el amalgama de misoginia, homofobia y “prejuicio de color” (preconceito de cor) se vierte exclusivamente sobre él. El periódico Dom Casmurro reavivó los estigmas de color y género para criticar su actuación intelectual. Todavía, los temas de la homosexualidad y de la afeminación atribuidos al escritor, aunque recordados, son recurrentemente evitados en su correspondencia, en la crónica periodística y en la literatura especializada. La ignorancia social de la realidad individual elementar torna evidente la opresión y la vergüenza socialmente instituidas.
Mário de Andrade – writer, intellectual and leader of the 1922 Semana de Arte Moderna – was subject to criticism on the pages of Revista de antropofagia in 1929 and of the newspaper Dom Casmurro in 1939. It is towards him exclusively that the Revista directs its blend of misogyny, homophobia and “colour prejudice”. Dom Casmurro reignites colour and gender stigmata to diminish the writer’s intellectual career. Albeit occasionally brought to the fore in their connections with Mário de Andrade, issues of homosexuality and effeminacy are insistently avoided in his correspondence as well as in press articles and in the literature about him. The social ignorance of such an elementary individual reality betrays oppression and socially engendered shame.
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Anais do II SIMPOM, 2012
Esta comunicación presenta parte del análisis del “Elementos de Música y Método de Fortepiano Op.... more Esta comunicación presenta parte del análisis del “Elementos de Música y Método de Fortepiano Op. 19 de João Domingos Bomtempo en la perspectiva de la música históricamente informada”, disertación de magíster. La improvisación, una práctica de performance en el pianoforte del final del siglo dieciocho e inicio del diecinueve, fue comentada en su relación con los Treinta preludios del Op. 19. El análisis de los preludios fue hecho comparando el Op. 19 con los métodos para pianoforte con los que Bomtempo probablemente tuvo acceso, los de Muzio Clementi y Johann Baptist Cramer. Se observaron sus semejanzas y diferencias para apuntar la contribución del pensamiento de Bomtempo.
This presentation describes part of the Master’s degree critical analysis of “Elements of Music and Method of Fortepiano, Op. 19, by João Domingos Bomtempo in the perspective of historically informed music”. Improvisation was an integral part of pianoforte performance in the end of XVIII and beginning of the XIX centuries, and it is discussed in this dissertation, where it is studied together with the Thirty Preludes of Op. 19. The analysis of the preludes of Bomtempo’s method involves a comparison with other methods for pianoforte that probably he had access to, ie, mainly Muzio Clementi and Johann Baptist Cramer, focusing on their similarities and differences, aiming at underlining the contributions from Bomtempo’s work.
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Revista Bagoas, 2018
El largometraje Children of God (2009) de Kareem Mortimer retrata la homofobia en las Islas Baham... more El largometraje Children of God (2009) de Kareem Mortimer retrata la homofobia en las Islas Bahamas. Varias historias paralelas envuelven determinada familia religiosa y las prácticas homosexuales masculinas de algunos de sus miembros. Analizo el uso de la música extra-diegética de Nathan Mathew David y después discuto aspectos relacionados al amor y al amor romántico: 1) en la sección de presentación del largometraje (1:00), la música sustenta imágenes de tramas distintas; 2) en la última parte de la secuencia final (1:35:55), la música relaciona y refuerza el sentido de las imágenes; 3) en la escena donde los protagonistas danzan en silencio (58:52) pero el receptor escucha música. La película ilustra la fuerza de la opresión social y su reproducción. Es el triunfo del miedo cuando las estructuras de la educación no permiten que el sujeto manipule sus pensamientos y sentimientos, esa adecuación al mundo es la imagen que lo estético debería ser capaz de exponer y desestabilizar, la ocultación del odio irracional en prácticas y sentimientos naturalizados.
Kareem Mortimer’s Children of God (2009) portrays homophobia in the Bahamas. Several parallel stories involve a certain religious family and the male homosexual practices of some of its members. The fear of the homoerotic reaches a certain social group in its entirety. I analyze the use of extradiegetic music of Nathan Matthew David and later I discuss aspects related to the love and the romantic love:1) in the presentation section of the feature film (1:00), the music supports the images of different frames; 2) in the last part of the final sequence of the film (1:35:55), the music relates and reinforces the direction of the images; 3) in the scene where the main characters dance in silence (58:52) but the receiver hears music.
The artistic elaboration of Children of God points out the affective relations between men. The film illustrates the power of social oppression and its reproduction. It is the triumph of fear when the structures of education do not allow the subject to manipulate their thinking and feelings, this adaptation to the world is the image that the aesthetic should be able to expose and destabilize, the concealment of irrational hatred in naturalized practices and feelings.
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Revista Bagoas - Estudos Gays: gênero e sexualidades, 2018
O longa-metragem Children of God (2009) de Kareem Mortimer retrata a homofobia nas Bahamas. Vária... more O longa-metragem Children of God (2009) de Kareem Mortimer retrata a homofobia nas Bahamas. Várias histórias paralelas envolvem certa família religiosa e as práticas homossexuais masculinas de alguns de seus membros. Eu analiso o uso da música extra-diegética de Nathan Mathew David e depois discuto aspectos relacionados ao amor e ao amor romântico: 1) na seção de apresentação do longa-metragem (1:00), a música sustenta as imagens de tramas distintas; 2) na última parte da sequência final do longa (1:35:55), a música relaciona e reforça o sentido das imagens; 3) na cena onde os personagens principais dançam em silêncio (58:52) mas o receptor ouve música. O filme ilustra a força da opressão social e sua reprodução. É o triunfo do medo quando as estruturas da educação não permitem ao sujeito manipular seus pensamentos e sentimentos, essa adequação ao mundo é a imagem que o estético deveria ser capaz de expor e desestabilizar, a ocultação do ódio irracional em práticas e sentimentos naturalizados.
Kareem Mortimer’s Children of God (2009) portrays homophobia in the Bahamas. Several parallel stories involve a certain religious family and the male homosexual practices of some of its members. The fear of the homoerotic reaches a certain social group in its entirety. I analyze the use of extradiegetic music of Nathan Matthew David and later I discuss aspects related to the love and the romantic love:1) in the presentation section of the feature film (1:00), the music supports the images of different frames; 2) in the last part of the final sequence of the film (1:35:55), the music relates and reinforces the direction of the images; 3) in the scene where the main characters dance in silence (58:52) but the receiver hears music.
The artistic elaboration of Children of God points out the affective relations between men. The film illustrates the power of social oppression and its reproduction. It is the triumph of fear when the structures of education do not allow the subject to manipulate their thinking and feelings, this adaptation to the world is the image that the aesthetic should be able to expose and destabilize, the concealment of irrational hatred in naturalized practices and feelings.
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Revista Vortex, Curitiba, v.3, n.2, 2015., 2015
Mário de Andrade – escritor, intelectual e líder da Semana de Arte Moderna – foi criticado pela R... more Mário de Andrade – escritor, intelectual e líder da Semana de Arte Moderna – foi criticado pela Revista de Antropofagia em 1929 e pelo jornal Dom Casmurro em 1939. Nas páginas da Revista, o amálgama de misoginia, homofobia e “preconceito de cor” verte-se exclusivamente sobre ele. O jornal Dom Casmurro reavivou os estigmas de cor e gênero para criticar a sua atuação intelectual. Todavia os temas da homossexualidade e da efeminação atribuídas ao escritor, ainda que trazidos à baila, são recorrentemente evitados em sua correspondência, na crônica jornalística e na literatura especializada. A ignorância social da realidade individual elementar evidencia a opressão e a vergonha socialmente instauradas.
Mário de Andrade – writer, intellectual and leader of the 1922 Semana de Arte Moderna – was subject to criticism on the pages of Revista de Antropofagia in 1929 and of the newspaper Dom Casmurro in 1939. It is towards him exclusively that the Revista directs its blend of misogyny, homophobia and “colour prejudice”. Dom Casmurro reignites colour and gender stigmata to diminish the writer’s intellectual career. Albeit occasionally brought to the fore in their connections with Mário de Andrade, issues of homosexuality and effeminacy are insistently avoided in his correspondence as well as in press articles and in the literature about him. The social ignorance of such an elementary individual reality betrays oppression and socially engendered shame.
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Anais do II Simpom, 2012
Esta comunicação apresenta parte da análise crítica do “Elementos de Música e Método de Forte-Pia... more Esta comunicação apresenta parte da análise crítica do “Elementos de Música e Método de Forte-Piano Op. 19 de João Domingos Bomtempo na perspectiva da musica historicamente informada”, dissertação de mestrado. A improvisação, uma prática de performance no pianoforte no final do século dezoito e início do século dezenove, foi comentada, neste trabalho, relacionado-a com os Trinta Preludios do Op. 19. A análise dos prelúdios do método de Bomtempo foi feita comparando-o com métodos para pianoforte aos quais ele provavelmente teve acesso, Muzio Clementi e Johann Baptist Cramer principalmente, observando suas semelhanças e diferenças visando apresentar a contribuição do pensamento de Bomtempo.
This presentation describes part of the Master’s degree critical analysis of “Elements of Music and Method of Fortepiano, Op. 19, by João Domingos Bomtempo in the perspective of historically informed music”. Improvisation was an integral part of pianoforte performance in the end of XVIII and beginning of the XIX centuries, and it is discussed in this dissertation, where it is studied together with the Thirty Preludes of Op. 19. The analysis of the preludes of Bomtempo’s method involves a comparison with other methods for pianoforte that probably he had access to, ie, mainly Muzio Clementi and Johann Baptist Cramer, focusing on their similarities and differences, aiming at underlining the contributions from Bomtempo’s work.
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Drafts by Jorge Vergara
The expression "pretty boys" had multiple meanings and circulated in Brazilian newspapers in the ... more The expression "pretty boys" had multiple meanings and circulated in Brazilian newspapers in the first half of the twentieth century. Along with other senses, it served as a reference for effeminacy, homosexuality, transvestism, transformism, and male prostitution. I registered the existence of men who identified themselves and incorporated the names, clothing, makeup, and attitudes of women, female sex workers, and female artists. There are comments on the voices "pad" (almofadinha), "transvestite", and "transformist". And I consider texts written by specialists in the homosexuality of time and academic literature.
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Revista Musica, 2019
The argument of this article is structured as follows: The recognition of some artists perceived ... more The argument of this article is structured as follows: The recognition of some artists perceived as effeminate and of others as homosexuals coexisted with the reproduction of prejudices in medical and literary discourse. Women are a numerical majority in musical education institutions, and in parallel, medical and literary discourse reproduces the belief in female inferiority. From the text of a conference on Chopin, I analyze three topics of the doctor and writer Aloysio de Castro by contrasting them with the ideas of four homosexuality specialists and some ideas of musicologist Mário de Andrade. The primary sources are from the first half of the twentieth century, and my appreciations have references in the review of the literature on racism, gender, and music.
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Carta de Mário de Andrade a Manuel Bandeira de 7 de abril de 1928
ANDRADE, Mário. S. Paulo, 7-IV... more Carta de Mário de Andrade a Manuel Bandeira de 7 de abril de 1928
ANDRADE, Mário. S. Paulo, 7-IV-28.
Carta de Mário de Andrade a Manuel Bandeira, 7 de abril de 1928.
Rio de Janeiro: Fundação Casa de Rui Barbosa.
Transcrição e notas: Jorge Vergara.
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As expressões moço bonito, moços bonitos, menino bonito, meninos bonitos circularam na prensa bra... more As expressões moço bonito, moços bonitos, menino bonito, meninos bonitos circularam na prensa brasileira durante a primeira metade do século vinte. A figura fez referência a vários sentidos, mas eu investigo principalmente as relacionadas às questões de gênero (afeminação, homossexualidade, travestismo, transformismo, prostituição masculina, misoginia, homofobia) e racismo. A partir da pesquisa do poema “Cabo Machado” de Mário de Andrade (Losango cáqui, 1926) eu encontrei a expressão em jornais. Os termos se relacionam também com o uso de termos como almofadinha, bolina e frajola. Existem músicas que se relacionam com os sentidos da expressão.
O termo travesti é frequente na prensa, mas não no sentido utilizado atualmente no português; servia para fazer referência às formas de transformismo no teatro. Os poucos registros em que a prensa refere homens vestidos com roupas femininas com o termo travesti utiliza aspas duplas. A prensa informa que homens que se vestem de mulher e usam nomes femininos foram presos pela policia: nesses casos, não terem forma de comprovar renda e trajarem dessa forma são motivos suficientes para justificar a prisão. A investigação de homens que usavam nomes, roupas e modos femininos na prensa da época tem pouca referência e análise na historiografia brasileira que conheço.
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Thesis Chapters by Jorge Vergara
O objetivo da presente pesquisa foi fazer uma análise crítica do “Elementos de Música e Método de... more O objetivo da presente pesquisa foi fazer uma análise crítica do “Elementos de Música e Método de Forte-Piano Op. 19” de João Domingos Bomtempo (1775 – 1842) usando-a como modo de aproximação de seu repertório para piano. Entre as ideias da música historicamente informada foram buscados subsídios para o conhecimento da música dos meados do século XVIII e da 1º metade do século XIX, bem como de sua performance na atualidade, tendo em mente a finalidade de despertar e/ou renovar o interesse pelas obras desse compositor português, ou seja, comparando recursos composicionais e procedimentos da técnica pianística empregados no referido Método, com aqueles usados em outras obras também para piano. A análise do método de Bomtempo foi feita com métodos aos quais ele teve acesso (os de Muzio Clementi (1752 – 1832) e Johann Baptist Cramer (1771 - 1858) principalmente), observando suas semelhanças e diferenças para tentar apresentar a contribuição do pensamento de Bomtempo.
The goal of this research was to do a critical analysis of the "Elements of Music and Method of Fortepiano, Op. 19" by João Domingos Bomtempo ( 1775-1842 ), using it as a way of approaching his piano repertoire. Information was sought among the ideas of historically informed music for knowledge of the music from the mid-eighteenth century and the first half of the nineteenth century, as well as its performance today, bearing in mind the purpose of awakening and/or renewing interest in the works of this Portuguese composer, i.e. comparing composition features and piano technique procedures employed in the referred to Method with those used in other works also for the piano. The analysis of Bomtempo’s method was done using methods to which he had access (those by Muzio Clementi (1752-1832) and Johann Baptist Cramer (1771-1858), mainly noting their similarities and differences, so as to try to present the contribution of Bomtempo’s thinking.
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Toda canção de liberdade vem do cárcere: homofobia, misoginia e racismo na recepção da obra de Má... more Toda canção de liberdade vem do cárcere: homofobia, misoginia e racismo na recepção da obra de Mário de Andrade recorre à teoria queer, ao feminismo, à musicologia, à história da medicina, à história do Brasil e à crítica literária para confrontar textos provenientes de revistas, jornais, literatura médica, livros, músicas e correspondência assinados por Mário de Andrade com os de seus contemporâneos.
O primeiro capítulo explica como o jornal Folha da Noite (1923), a Revista de antropofagia (1929) e o jornal Dom Casmurro (1939) moveram campanhas racistas, misóginas e homofóbicas para reprochar Mário de Andrade – a primeira delas até aqui desconhecida da literatura.
O segundo capítulo ressalta traços da empatia de Mário de Andrade com figuras de homoerotismo e subalternidade em Paulicea desvairada (1922) para argumentar que a estilização é testemunho de como a sociedade condenou pessoas e suas práticas à ignomínia e ao silêncio.
O terceiro capítulo interpreta discursos de Mário de Andrade sobre música no que contestam autoritarismos e preconceitos disseminados no imaginário da época. Se a figura contemporânea dos “moços bonitos” implica homossexualidade, efeminação, travestismo e prostituição masculina, os poemas “A caçada” e “Nocturno” de Paulicea desvairada e “Cabo Machado” de Losango cáqui (1926) confrontam o leitor com o mulato em composições que fundem subalternidade, música e nacionalidade, nas quais as ideias de raça, modernização, masculinidade e nacionalismo apresentam caráter anti-autoritário.
O “mundo da arte” (Becker, 1982) de Mário de Andrade depende da interação com o universo mental e social da época. Essa produção e interação não acontecem sem discurso, e esses discursos nem sempre abordam música, misoginia, antissemitismo, homofobia e branqueamento de forma direta. O valor das obras de arte diminui quando as analisamos em função da competência e elaboração técnica apenas.
Palavras-chave: Mário de Andrade – Preconceito – Homofobia – Racismo – Musicologia
“Every Freedom Song Comes from the Gaol: Homophobia, Misogyny and Racism in the Reception of Mário de Andrade’s Work” resorts to queer theory, feminism, musicology, the history of medicine, Brazilian history and literary criticism in order to confront texts from magazines, newspapers, books, music and correspondence written by Mário de Andrade with those of his contemporaries.
The first chapter explains how the newspaper Folha da Noite (1923), the magazine Revista de antropofagia (1929) and the newspaper Dom Casmurro (1939) moved racist, misogynist and homophobic campaigns against Mário de Andrade – the first of which hitherto unacknowledged by the literature.
The second chapter stresses Mário de Andrade’s empathy with figures of homoeroticism and subalternity as presented in the 1922 poetry book Paulicea desvairada (Deranged São Paulo city) to argue that stylization testifies to how society has condemned some people and their practices to ignominy and silence.
The third chapter interprets Mário de Andrade’s discourses on music insofar as they contest authoritarianisms and prejudices disseminated in the contemporary image-repertoire. While the popular “pretty boys” figures implies homosexuality, effeminacy, transvestism and male prostitution, such poems as“A caçada” (The hunt) and “Nocturno” (Nocturne), from Paulicea desvairada, and “Cabo Machado” (Corporal Machado), from the 1926 book Losango cáqui (Khaki lozenge), confront the reader with the mulatto in compositions that blend subalternity, music and nationality, in which the ideas of race, modernization, masculinity and nationalism betray an anti-authoritarian frame of mind.
Mário de Andrade’s “art world” (Becker, 1982) depends on interaction with the mental and social universe of the time. Production and interaction do not take place without discourse, and such discourses not always tackle music, misogyny, anti-Semitism, homophobia and whitening in a direct way. The value of art works is lessened when they are analysed according to technical competence and elaboration only.
Key-words: Mário de Andrade – Prejudice – Homophobia – Racism – Musicology
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Teaching Documents by Jorge Vergara
O jornal A Gazeta de São Paulo publicou conteúdo preconceituoso contra o movimento modernista pa... more O jornal A Gazeta de São Paulo publicou conteúdo preconceituoso contra o movimento modernista paulista entre 1921 e 1922. Em diversos formatos jornalísticos, a folha veiculou capacitismo, homofobia, misoginia e racismo. Também empregou pejorativamente termos musicais vinculados à cultura negra, indígena e popular. As publicações aconteceram principalmente entre maio e agosto de 1921, e em fevereiro de 1922. Cásper Libero e Couto de Magalhães eram os responsáveis pela direção e redação do jornal. Vários autores modernistas foram criticados com injúrias, entre eles, Anita Malfatti e Emiliano Di Cavalcanti. Mário de Andrade foi o que recebeu as críticas mais agressivas. A pesquisa usou o material da Hemeroteca Digital da Biblioteca Nacional do Brasil.
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Papers by Jorge Vergara
In Rio de Janeiro, under the control of Brazilian writer Manuel Bastos Tigre, the D. Quixote magazine (1917-1926) published prejudiced content to question the São Paulo modernist movement between 1920 and 1926. In the form of humor and in textual and visual resources, D. Quixote conveyed ableism, misogyny, homophobia, racism, and the stigmatization of musical and popular practices. To qualify the intensity of prejudiced expression in publications of the process, the author defined the expressive aggressiveness category. Due to the synchrony and similarity of part of the content, elements of D. Quixote's process were compared with elements of the anti-modernist campaigns of the São Paulo newspapers A Gazeta (1921-1922) and Folha da Noite (1923). A keyword search in the Digital Newspaper Library of the Brazilian National Library allowed us to find publications. The arguments of researchers in humor and Brazilian history were considered. This report records the names and artworks questioned at the reception of São Paulo modernism in Rio de Janeiro, and provides knowledge about the social construction of prejudice. Journalists, writers, and humorists produced prejudiced content to debate art.
This report analyzes two texts in which Mário de Andrade cited the work of the writer Oscar Wilde, and the article that Francisco Pati published in the Folha da Noite aesthetic and moral hygiene campaign in 1923. Andrade implies homoeroticism in the poem "Paisagem N. 3" by Pauliceia Desvairada and quotes some phrases from De profundis in his graduation speech in 1923. In the second text, Andrade does not imply homoerotic meanings, he promoted the study of socially stigmatized songs that addressed erotic themes. Without explicitly mentioning homosexuality and Mário de Andrade, Pati criticizes and pejoratively associates São Paulo modernists and Andrade with homosexuality. The debate about Wilde allows observing the social construction of homophobia.
The purpose of this article is to verify the existence and analyze the prejudiced content of the newspaper A Gazeta de São Paulo’s campaign against the modernist movement between 1921 and 1922. The texts were found by searching with keywords in the Digital Newspaper Library of the National Library of Brazil. It was determined that A Gazeta produced different types of journalistic texts that conveyed ableism, homophobia, misogyny, and racism. In addition, musical terms were derogatorily linked to black, indigenous, and popular culture. During the campaign, several artists were mentioned, including modernist Mário de Andrade, who was criticized and reviled. Therefore, it was established that the author analyzed texts with explicit prejudice and recorded considerations about the character and effects of prejudice. The analysis of the “anti-futurist reaction” reveals the incipient reception of Andrade and the modernist movement, the use of prejudice in the artistic debate, and the social construction of prejudice.
Registro la existencia de algunos varones que se identificaron e incorporaron nombres, indumentaria, maquillaje y actitudes de mujeres, prostitutas y artistas mujeres. Comento las voces «almohadilla» (almofadinha), «travesti» y «transformista». Considero textos de especialistas en homosexualidad de la época y la literatura académica.
The expession «pretty boys» had multiple meanings and circulated in Brazilian newspapers in the first half of the twentieth century. Along with other senses, it was a reference for effeminacy, homosexuality, transvestism, transformism and male prostitution.
I register the existence of some men who identified themselves and incorporated the names, clothing, makeup, and attitudes of women, prostitutes, and female artists. I comment on the voices «pad» (almofadinha), «transvestite», and «transformist». I consider texts by specialists in homosexuality of the time and academic literature.
A expressão «moços bonitos» teve múltiples sentidos e circulou em periódicos brasileiros na primeira metade do século vinte. Junto a outros sentidos, ela foi referência para a afeminação, a homossexualidade, o travestismo, o transformismo e a prostituição masculina.
Eu registro a existência de alguns varões que se identificaram e usaram nomes, roupas, maquiagem e atitudes de mulheres, prostitutas e artistas mulheres. Comento os termos «almofadinha», «travesti», e «transformista». Considero textos de especialistas em homossexualidade da época e a literatura acadêmica.
The argumentation of this article is structured as follows: the recognition of some artists perceived as effeminate and of others as homosexuals coexisted with the reproduction of prejudices in medical and literary discourse. And women are a numerical majority in musical education institutions, and in parallel, medical and literary discourse reproduces the belief in female inferiority. From the text of a conference on Chopin, I analyze three topics of the doctor and writer Aloysio de Castro by contrasting with the ideas of four homosexuality specialists and some ideas of musicologist Mário de Andrade. The primary sources are from the first half of the twentieth century, and my appreciations have references in my review of the literature on racism, gender and music.
Propongo cinco tropos para relacionar las manifestaciones de homoerotismo con las de subalternidad en Paulicea desvariada (1922), de Mário de Andrade: mujeres enmendadas, imposibles, desamparadas; paseos nocturnos o mirar el peligro; congreso de marginales; el miedo incita el deseo; y normalidad cautiva. Más allá de la estilización poética, la homofobia internalizada de Mário de Andrade permite suponer el motivo por el cual no hay una clara expresión de las ideas homoeróticas y explica en parte el rechazo del imaginario obsceno. La estilización en Paulicea atestigua como la sociedad condenó prácticas y personas a la ignominia y al silencio. Las insinuaciones poéticas instigan cuestionamientos, pensamiento e imaginación. Con conceptos de la teoría queer, del análisis del discurso, de la historia, de la historiografía de la homosexualidad en Brasil, a través de pesquisa en textos, músicas y la medicina de la época junto con la correspondencia de Mário de Andrade, exploro la temática homoerótico y lo político que yaz en la poesía del musicólogo.
I propose five tropes to relate the manifestations of homoeroticism and those of subalternity in Paulicea desvairada (1922), of Mário de Andrade: amended, impossible, helpless women; night’s outing or aim at the danger; marginals’ congress; fear nurture desire; and captive normality. In addition to poetic stylization, internalized homophobia allows one to suppose why there is no clear expression of homoerotic ideas and partly explains the rejection of obscene imagery. Stylizations testify to the manner in which society has condemned practices and people to ignominy and silence. Poetic adumbration stirs questionings, thinking and the imagination. With concepts from queer theory, discourse analysis, history, the historiography of homosexuality in Brazil, through research in texts, music and medicine of the time plus the correspondence of Mario, I explore the homoerotic and political theme that lies in the musicologist’s poetry.
I propose five tropes to relate the manifestations of homoeroticism and those of subalternity in Paulicea desvairada (1922), of Mário de Andrade: amended, impossible, helpless women; night’s outing or aim at the danger; marginals’ congress; fear nurture desire; and captive normality. In addition to poetic stylization, internalized homophobia allows one to suppose why there is no clear expression of homoerotic ideas and partly explains the rejection of obscene imagery. Stylizations testify to the manner in which society has condemned practices and people to ignominy and silence. Poetic adumbration stirs questionings, thinking and the imagination. With concepts from queer theory, discourse analysis, history, the historiography of homosexuality in Brazil, through research in texts, music and medicine of the time plus the correspondence of Mario, I explore the homoerotic and political theme that lies in the musicologist’s poetry.
Proponho cinco tropos para relacionar as manifestações de homoerotismo com as de subalternidade em Paulicea desvairada (1922), de Mário de Andrade: mulheres emendadas, impossíveis, desamparadas; passeios noturnos ou mirar no perigo; congresso de marginais; o medo incita o desejo; e normalidade cativa. Além da estilização poética, a homofobia internalizada de Mário de Andrade permite supor o motivo pelo qual não há clara expressão das ideias homoeróticas e explica em parte a rejeição do imaginário obsceno. A estilização em Paulicea é testemunha de como a sociedade condenou práticas e pessoas à ignomínia e ao silêncio. As insinuações poéticas instigam questionamentos, pensamento e imaginação. Com conceitos da teoria queer, da análise do discurso, da história, da historiografia da homossexualidade no Brasil, através de pesquisa em textos, músicas e a medicina da época mais a correspondência de Mário de Andrade, exploro a temática homoerótica e política que jaz na poesia do musicólogo.
Mário de Andrade – writer, intellectual and leader of the 1922 Semana de Arte Moderna – was subject to criticism on the pages of Revista de antropofagia in 1929 and of the newspaper Dom Casmurro in 1939. It is towards him exclusively that the Revista directs its blend of misogyny, homophobia and “colour prejudice”. Dom Casmurro reignites colour and gender stigmata to diminish the writer’s intellectual career. Albeit occasionally brought to the fore in their connections with Mário de Andrade, issues of homosexuality and effeminacy are insistently avoided in his correspondence as well as in press articles and in the literature about him. The social ignorance of such an elementary individual reality betrays oppression and socially engendered shame.
This presentation describes part of the Master’s degree critical analysis of “Elements of Music and Method of Fortepiano, Op. 19, by João Domingos Bomtempo in the perspective of historically informed music”. Improvisation was an integral part of pianoforte performance in the end of XVIII and beginning of the XIX centuries, and it is discussed in this dissertation, where it is studied together with the Thirty Preludes of Op. 19. The analysis of the preludes of Bomtempo’s method involves a comparison with other methods for pianoforte that probably he had access to, ie, mainly Muzio Clementi and Johann Baptist Cramer, focusing on their similarities and differences, aiming at underlining the contributions from Bomtempo’s work.
Kareem Mortimer’s Children of God (2009) portrays homophobia in the Bahamas. Several parallel stories involve a certain religious family and the male homosexual practices of some of its members. The fear of the homoerotic reaches a certain social group in its entirety. I analyze the use of extradiegetic music of Nathan Matthew David and later I discuss aspects related to the love and the romantic love:1) in the presentation section of the feature film (1:00), the music supports the images of different frames; 2) in the last part of the final sequence of the film (1:35:55), the music relates and reinforces the direction of the images; 3) in the scene where the main characters dance in silence (58:52) but the receiver hears music.
The artistic elaboration of Children of God points out the affective relations between men. The film illustrates the power of social oppression and its reproduction. It is the triumph of fear when the structures of education do not allow the subject to manipulate their thinking and feelings, this adaptation to the world is the image that the aesthetic should be able to expose and destabilize, the concealment of irrational hatred in naturalized practices and feelings.
Kareem Mortimer’s Children of God (2009) portrays homophobia in the Bahamas. Several parallel stories involve a certain religious family and the male homosexual practices of some of its members. The fear of the homoerotic reaches a certain social group in its entirety. I analyze the use of extradiegetic music of Nathan Matthew David and later I discuss aspects related to the love and the romantic love:1) in the presentation section of the feature film (1:00), the music supports the images of different frames; 2) in the last part of the final sequence of the film (1:35:55), the music relates and reinforces the direction of the images; 3) in the scene where the main characters dance in silence (58:52) but the receiver hears music.
The artistic elaboration of Children of God points out the affective relations between men. The film illustrates the power of social oppression and its reproduction. It is the triumph of fear when the structures of education do not allow the subject to manipulate their thinking and feelings, this adaptation to the world is the image that the aesthetic should be able to expose and destabilize, the concealment of irrational hatred in naturalized practices and feelings.
Mário de Andrade – writer, intellectual and leader of the 1922 Semana de Arte Moderna – was subject to criticism on the pages of Revista de Antropofagia in 1929 and of the newspaper Dom Casmurro in 1939. It is towards him exclusively that the Revista directs its blend of misogyny, homophobia and “colour prejudice”. Dom Casmurro reignites colour and gender stigmata to diminish the writer’s intellectual career. Albeit occasionally brought to the fore in their connections with Mário de Andrade, issues of homosexuality and effeminacy are insistently avoided in his correspondence as well as in press articles and in the literature about him. The social ignorance of such an elementary individual reality betrays oppression and socially engendered shame.
This presentation describes part of the Master’s degree critical analysis of “Elements of Music and Method of Fortepiano, Op. 19, by João Domingos Bomtempo in the perspective of historically informed music”. Improvisation was an integral part of pianoforte performance in the end of XVIII and beginning of the XIX centuries, and it is discussed in this dissertation, where it is studied together with the Thirty Preludes of Op. 19. The analysis of the preludes of Bomtempo’s method involves a comparison with other methods for pianoforte that probably he had access to, ie, mainly Muzio Clementi and Johann Baptist Cramer, focusing on their similarities and differences, aiming at underlining the contributions from Bomtempo’s work.
Drafts by Jorge Vergara
ANDRADE, Mário. S. Paulo, 7-IV-28.
Carta de Mário de Andrade a Manuel Bandeira, 7 de abril de 1928.
Rio de Janeiro: Fundação Casa de Rui Barbosa.
Transcrição e notas: Jorge Vergara.
O termo travesti é frequente na prensa, mas não no sentido utilizado atualmente no português; servia para fazer referência às formas de transformismo no teatro. Os poucos registros em que a prensa refere homens vestidos com roupas femininas com o termo travesti utiliza aspas duplas. A prensa informa que homens que se vestem de mulher e usam nomes femininos foram presos pela policia: nesses casos, não terem forma de comprovar renda e trajarem dessa forma são motivos suficientes para justificar a prisão. A investigação de homens que usavam nomes, roupas e modos femininos na prensa da época tem pouca referência e análise na historiografia brasileira que conheço.
Thesis Chapters by Jorge Vergara
The goal of this research was to do a critical analysis of the "Elements of Music and Method of Fortepiano, Op. 19" by João Domingos Bomtempo ( 1775-1842 ), using it as a way of approaching his piano repertoire. Information was sought among the ideas of historically informed music for knowledge of the music from the mid-eighteenth century and the first half of the nineteenth century, as well as its performance today, bearing in mind the purpose of awakening and/or renewing interest in the works of this Portuguese composer, i.e. comparing composition features and piano technique procedures employed in the referred to Method with those used in other works also for the piano. The analysis of Bomtempo’s method was done using methods to which he had access (those by Muzio Clementi (1752-1832) and Johann Baptist Cramer (1771-1858), mainly noting their similarities and differences, so as to try to present the contribution of Bomtempo’s thinking.
O primeiro capítulo explica como o jornal Folha da Noite (1923), a Revista de antropofagia (1929) e o jornal Dom Casmurro (1939) moveram campanhas racistas, misóginas e homofóbicas para reprochar Mário de Andrade – a primeira delas até aqui desconhecida da literatura.
O segundo capítulo ressalta traços da empatia de Mário de Andrade com figuras de homoerotismo e subalternidade em Paulicea desvairada (1922) para argumentar que a estilização é testemunho de como a sociedade condenou pessoas e suas práticas à ignomínia e ao silêncio.
O terceiro capítulo interpreta discursos de Mário de Andrade sobre música no que contestam autoritarismos e preconceitos disseminados no imaginário da época. Se a figura contemporânea dos “moços bonitos” implica homossexualidade, efeminação, travestismo e prostituição masculina, os poemas “A caçada” e “Nocturno” de Paulicea desvairada e “Cabo Machado” de Losango cáqui (1926) confrontam o leitor com o mulato em composições que fundem subalternidade, música e nacionalidade, nas quais as ideias de raça, modernização, masculinidade e nacionalismo apresentam caráter anti-autoritário.
O “mundo da arte” (Becker, 1982) de Mário de Andrade depende da interação com o universo mental e social da época. Essa produção e interação não acontecem sem discurso, e esses discursos nem sempre abordam música, misoginia, antissemitismo, homofobia e branqueamento de forma direta. O valor das obras de arte diminui quando as analisamos em função da competência e elaboração técnica apenas.
Palavras-chave: Mário de Andrade – Preconceito – Homofobia – Racismo – Musicologia
“Every Freedom Song Comes from the Gaol: Homophobia, Misogyny and Racism in the Reception of Mário de Andrade’s Work” resorts to queer theory, feminism, musicology, the history of medicine, Brazilian history and literary criticism in order to confront texts from magazines, newspapers, books, music and correspondence written by Mário de Andrade with those of his contemporaries.
The first chapter explains how the newspaper Folha da Noite (1923), the magazine Revista de antropofagia (1929) and the newspaper Dom Casmurro (1939) moved racist, misogynist and homophobic campaigns against Mário de Andrade – the first of which hitherto unacknowledged by the literature.
The second chapter stresses Mário de Andrade’s empathy with figures of homoeroticism and subalternity as presented in the 1922 poetry book Paulicea desvairada (Deranged São Paulo city) to argue that stylization testifies to how society has condemned some people and their practices to ignominy and silence.
The third chapter interprets Mário de Andrade’s discourses on music insofar as they contest authoritarianisms and prejudices disseminated in the contemporary image-repertoire. While the popular “pretty boys” figures implies homosexuality, effeminacy, transvestism and male prostitution, such poems as“A caçada” (The hunt) and “Nocturno” (Nocturne), from Paulicea desvairada, and “Cabo Machado” (Corporal Machado), from the 1926 book Losango cáqui (Khaki lozenge), confront the reader with the mulatto in compositions that blend subalternity, music and nationality, in which the ideas of race, modernization, masculinity and nationalism betray an anti-authoritarian frame of mind.
Mário de Andrade’s “art world” (Becker, 1982) depends on interaction with the mental and social universe of the time. Production and interaction do not take place without discourse, and such discourses not always tackle music, misogyny, anti-Semitism, homophobia and whitening in a direct way. The value of art works is lessened when they are analysed according to technical competence and elaboration only.
Key-words: Mário de Andrade – Prejudice – Homophobia – Racism – Musicology
Teaching Documents by Jorge Vergara
In Rio de Janeiro, under the control of Brazilian writer Manuel Bastos Tigre, the D. Quixote magazine (1917-1926) published prejudiced content to question the São Paulo modernist movement between 1920 and 1926. In the form of humor and in textual and visual resources, D. Quixote conveyed ableism, misogyny, homophobia, racism, and the stigmatization of musical and popular practices. To qualify the intensity of prejudiced expression in publications of the process, the author defined the expressive aggressiveness category. Due to the synchrony and similarity of part of the content, elements of D. Quixote's process were compared with elements of the anti-modernist campaigns of the São Paulo newspapers A Gazeta (1921-1922) and Folha da Noite (1923). A keyword search in the Digital Newspaper Library of the Brazilian National Library allowed us to find publications. The arguments of researchers in humor and Brazilian history were considered. This report records the names and artworks questioned at the reception of São Paulo modernism in Rio de Janeiro, and provides knowledge about the social construction of prejudice. Journalists, writers, and humorists produced prejudiced content to debate art.
This report analyzes two texts in which Mário de Andrade cited the work of the writer Oscar Wilde, and the article that Francisco Pati published in the Folha da Noite aesthetic and moral hygiene campaign in 1923. Andrade implies homoeroticism in the poem "Paisagem N. 3" by Pauliceia Desvairada and quotes some phrases from De profundis in his graduation speech in 1923. In the second text, Andrade does not imply homoerotic meanings, he promoted the study of socially stigmatized songs that addressed erotic themes. Without explicitly mentioning homosexuality and Mário de Andrade, Pati criticizes and pejoratively associates São Paulo modernists and Andrade with homosexuality. The debate about Wilde allows observing the social construction of homophobia.
The purpose of this article is to verify the existence and analyze the prejudiced content of the newspaper A Gazeta de São Paulo’s campaign against the modernist movement between 1921 and 1922. The texts were found by searching with keywords in the Digital Newspaper Library of the National Library of Brazil. It was determined that A Gazeta produced different types of journalistic texts that conveyed ableism, homophobia, misogyny, and racism. In addition, musical terms were derogatorily linked to black, indigenous, and popular culture. During the campaign, several artists were mentioned, including modernist Mário de Andrade, who was criticized and reviled. Therefore, it was established that the author analyzed texts with explicit prejudice and recorded considerations about the character and effects of prejudice. The analysis of the “anti-futurist reaction” reveals the incipient reception of Andrade and the modernist movement, the use of prejudice in the artistic debate, and the social construction of prejudice.
Registro la existencia de algunos varones que se identificaron e incorporaron nombres, indumentaria, maquillaje y actitudes de mujeres, prostitutas y artistas mujeres. Comento las voces «almohadilla» (almofadinha), «travesti» y «transformista». Considero textos de especialistas en homosexualidad de la época y la literatura académica.
The expession «pretty boys» had multiple meanings and circulated in Brazilian newspapers in the first half of the twentieth century. Along with other senses, it was a reference for effeminacy, homosexuality, transvestism, transformism and male prostitution.
I register the existence of some men who identified themselves and incorporated the names, clothing, makeup, and attitudes of women, prostitutes, and female artists. I comment on the voices «pad» (almofadinha), «transvestite», and «transformist». I consider texts by specialists in homosexuality of the time and academic literature.
A expressão «moços bonitos» teve múltiples sentidos e circulou em periódicos brasileiros na primeira metade do século vinte. Junto a outros sentidos, ela foi referência para a afeminação, a homossexualidade, o travestismo, o transformismo e a prostituição masculina.
Eu registro a existência de alguns varões que se identificaram e usaram nomes, roupas, maquiagem e atitudes de mulheres, prostitutas e artistas mulheres. Comento os termos «almofadinha», «travesti», e «transformista». Considero textos de especialistas em homossexualidade da época e a literatura acadêmica.
The argumentation of this article is structured as follows: the recognition of some artists perceived as effeminate and of others as homosexuals coexisted with the reproduction of prejudices in medical and literary discourse. And women are a numerical majority in musical education institutions, and in parallel, medical and literary discourse reproduces the belief in female inferiority. From the text of a conference on Chopin, I analyze three topics of the doctor and writer Aloysio de Castro by contrasting with the ideas of four homosexuality specialists and some ideas of musicologist Mário de Andrade. The primary sources are from the first half of the twentieth century, and my appreciations have references in my review of the literature on racism, gender and music.
Propongo cinco tropos para relacionar las manifestaciones de homoerotismo con las de subalternidad en Paulicea desvariada (1922), de Mário de Andrade: mujeres enmendadas, imposibles, desamparadas; paseos nocturnos o mirar el peligro; congreso de marginales; el miedo incita el deseo; y normalidad cautiva. Más allá de la estilización poética, la homofobia internalizada de Mário de Andrade permite suponer el motivo por el cual no hay una clara expresión de las ideas homoeróticas y explica en parte el rechazo del imaginario obsceno. La estilización en Paulicea atestigua como la sociedad condenó prácticas y personas a la ignominia y al silencio. Las insinuaciones poéticas instigan cuestionamientos, pensamiento e imaginación. Con conceptos de la teoría queer, del análisis del discurso, de la historia, de la historiografía de la homosexualidad en Brasil, a través de pesquisa en textos, músicas y la medicina de la época junto con la correspondencia de Mário de Andrade, exploro la temática homoerótico y lo político que yaz en la poesía del musicólogo.
I propose five tropes to relate the manifestations of homoeroticism and those of subalternity in Paulicea desvairada (1922), of Mário de Andrade: amended, impossible, helpless women; night’s outing or aim at the danger; marginals’ congress; fear nurture desire; and captive normality. In addition to poetic stylization, internalized homophobia allows one to suppose why there is no clear expression of homoerotic ideas and partly explains the rejection of obscene imagery. Stylizations testify to the manner in which society has condemned practices and people to ignominy and silence. Poetic adumbration stirs questionings, thinking and the imagination. With concepts from queer theory, discourse analysis, history, the historiography of homosexuality in Brazil, through research in texts, music and medicine of the time plus the correspondence of Mario, I explore the homoerotic and political theme that lies in the musicologist’s poetry.
I propose five tropes to relate the manifestations of homoeroticism and those of subalternity in Paulicea desvairada (1922), of Mário de Andrade: amended, impossible, helpless women; night’s outing or aim at the danger; marginals’ congress; fear nurture desire; and captive normality. In addition to poetic stylization, internalized homophobia allows one to suppose why there is no clear expression of homoerotic ideas and partly explains the rejection of obscene imagery. Stylizations testify to the manner in which society has condemned practices and people to ignominy and silence. Poetic adumbration stirs questionings, thinking and the imagination. With concepts from queer theory, discourse analysis, history, the historiography of homosexuality in Brazil, through research in texts, music and medicine of the time plus the correspondence of Mario, I explore the homoerotic and political theme that lies in the musicologist’s poetry.
Proponho cinco tropos para relacionar as manifestações de homoerotismo com as de subalternidade em Paulicea desvairada (1922), de Mário de Andrade: mulheres emendadas, impossíveis, desamparadas; passeios noturnos ou mirar no perigo; congresso de marginais; o medo incita o desejo; e normalidade cativa. Além da estilização poética, a homofobia internalizada de Mário de Andrade permite supor o motivo pelo qual não há clara expressão das ideias homoeróticas e explica em parte a rejeição do imaginário obsceno. A estilização em Paulicea é testemunha de como a sociedade condenou práticas e pessoas à ignomínia e ao silêncio. As insinuações poéticas instigam questionamentos, pensamento e imaginação. Com conceitos da teoria queer, da análise do discurso, da história, da historiografia da homossexualidade no Brasil, através de pesquisa em textos, músicas e a medicina da época mais a correspondência de Mário de Andrade, exploro a temática homoerótica e política que jaz na poesia do musicólogo.
Mário de Andrade – writer, intellectual and leader of the 1922 Semana de Arte Moderna – was subject to criticism on the pages of Revista de antropofagia in 1929 and of the newspaper Dom Casmurro in 1939. It is towards him exclusively that the Revista directs its blend of misogyny, homophobia and “colour prejudice”. Dom Casmurro reignites colour and gender stigmata to diminish the writer’s intellectual career. Albeit occasionally brought to the fore in their connections with Mário de Andrade, issues of homosexuality and effeminacy are insistently avoided in his correspondence as well as in press articles and in the literature about him. The social ignorance of such an elementary individual reality betrays oppression and socially engendered shame.
This presentation describes part of the Master’s degree critical analysis of “Elements of Music and Method of Fortepiano, Op. 19, by João Domingos Bomtempo in the perspective of historically informed music”. Improvisation was an integral part of pianoforte performance in the end of XVIII and beginning of the XIX centuries, and it is discussed in this dissertation, where it is studied together with the Thirty Preludes of Op. 19. The analysis of the preludes of Bomtempo’s method involves a comparison with other methods for pianoforte that probably he had access to, ie, mainly Muzio Clementi and Johann Baptist Cramer, focusing on their similarities and differences, aiming at underlining the contributions from Bomtempo’s work.
Kareem Mortimer’s Children of God (2009) portrays homophobia in the Bahamas. Several parallel stories involve a certain religious family and the male homosexual practices of some of its members. The fear of the homoerotic reaches a certain social group in its entirety. I analyze the use of extradiegetic music of Nathan Matthew David and later I discuss aspects related to the love and the romantic love:1) in the presentation section of the feature film (1:00), the music supports the images of different frames; 2) in the last part of the final sequence of the film (1:35:55), the music relates and reinforces the direction of the images; 3) in the scene where the main characters dance in silence (58:52) but the receiver hears music.
The artistic elaboration of Children of God points out the affective relations between men. The film illustrates the power of social oppression and its reproduction. It is the triumph of fear when the structures of education do not allow the subject to manipulate their thinking and feelings, this adaptation to the world is the image that the aesthetic should be able to expose and destabilize, the concealment of irrational hatred in naturalized practices and feelings.
Kareem Mortimer’s Children of God (2009) portrays homophobia in the Bahamas. Several parallel stories involve a certain religious family and the male homosexual practices of some of its members. The fear of the homoerotic reaches a certain social group in its entirety. I analyze the use of extradiegetic music of Nathan Matthew David and later I discuss aspects related to the love and the romantic love:1) in the presentation section of the feature film (1:00), the music supports the images of different frames; 2) in the last part of the final sequence of the film (1:35:55), the music relates and reinforces the direction of the images; 3) in the scene where the main characters dance in silence (58:52) but the receiver hears music.
The artistic elaboration of Children of God points out the affective relations between men. The film illustrates the power of social oppression and its reproduction. It is the triumph of fear when the structures of education do not allow the subject to manipulate their thinking and feelings, this adaptation to the world is the image that the aesthetic should be able to expose and destabilize, the concealment of irrational hatred in naturalized practices and feelings.
Mário de Andrade – writer, intellectual and leader of the 1922 Semana de Arte Moderna – was subject to criticism on the pages of Revista de Antropofagia in 1929 and of the newspaper Dom Casmurro in 1939. It is towards him exclusively that the Revista directs its blend of misogyny, homophobia and “colour prejudice”. Dom Casmurro reignites colour and gender stigmata to diminish the writer’s intellectual career. Albeit occasionally brought to the fore in their connections with Mário de Andrade, issues of homosexuality and effeminacy are insistently avoided in his correspondence as well as in press articles and in the literature about him. The social ignorance of such an elementary individual reality betrays oppression and socially engendered shame.
This presentation describes part of the Master’s degree critical analysis of “Elements of Music and Method of Fortepiano, Op. 19, by João Domingos Bomtempo in the perspective of historically informed music”. Improvisation was an integral part of pianoforte performance in the end of XVIII and beginning of the XIX centuries, and it is discussed in this dissertation, where it is studied together with the Thirty Preludes of Op. 19. The analysis of the preludes of Bomtempo’s method involves a comparison with other methods for pianoforte that probably he had access to, ie, mainly Muzio Clementi and Johann Baptist Cramer, focusing on their similarities and differences, aiming at underlining the contributions from Bomtempo’s work.
ANDRADE, Mário. S. Paulo, 7-IV-28.
Carta de Mário de Andrade a Manuel Bandeira, 7 de abril de 1928.
Rio de Janeiro: Fundação Casa de Rui Barbosa.
Transcrição e notas: Jorge Vergara.
O termo travesti é frequente na prensa, mas não no sentido utilizado atualmente no português; servia para fazer referência às formas de transformismo no teatro. Os poucos registros em que a prensa refere homens vestidos com roupas femininas com o termo travesti utiliza aspas duplas. A prensa informa que homens que se vestem de mulher e usam nomes femininos foram presos pela policia: nesses casos, não terem forma de comprovar renda e trajarem dessa forma são motivos suficientes para justificar a prisão. A investigação de homens que usavam nomes, roupas e modos femininos na prensa da época tem pouca referência e análise na historiografia brasileira que conheço.
The goal of this research was to do a critical analysis of the "Elements of Music and Method of Fortepiano, Op. 19" by João Domingos Bomtempo ( 1775-1842 ), using it as a way of approaching his piano repertoire. Information was sought among the ideas of historically informed music for knowledge of the music from the mid-eighteenth century and the first half of the nineteenth century, as well as its performance today, bearing in mind the purpose of awakening and/or renewing interest in the works of this Portuguese composer, i.e. comparing composition features and piano technique procedures employed in the referred to Method with those used in other works also for the piano. The analysis of Bomtempo’s method was done using methods to which he had access (those by Muzio Clementi (1752-1832) and Johann Baptist Cramer (1771-1858), mainly noting their similarities and differences, so as to try to present the contribution of Bomtempo’s thinking.
O primeiro capítulo explica como o jornal Folha da Noite (1923), a Revista de antropofagia (1929) e o jornal Dom Casmurro (1939) moveram campanhas racistas, misóginas e homofóbicas para reprochar Mário de Andrade – a primeira delas até aqui desconhecida da literatura.
O segundo capítulo ressalta traços da empatia de Mário de Andrade com figuras de homoerotismo e subalternidade em Paulicea desvairada (1922) para argumentar que a estilização é testemunho de como a sociedade condenou pessoas e suas práticas à ignomínia e ao silêncio.
O terceiro capítulo interpreta discursos de Mário de Andrade sobre música no que contestam autoritarismos e preconceitos disseminados no imaginário da época. Se a figura contemporânea dos “moços bonitos” implica homossexualidade, efeminação, travestismo e prostituição masculina, os poemas “A caçada” e “Nocturno” de Paulicea desvairada e “Cabo Machado” de Losango cáqui (1926) confrontam o leitor com o mulato em composições que fundem subalternidade, música e nacionalidade, nas quais as ideias de raça, modernização, masculinidade e nacionalismo apresentam caráter anti-autoritário.
O “mundo da arte” (Becker, 1982) de Mário de Andrade depende da interação com o universo mental e social da época. Essa produção e interação não acontecem sem discurso, e esses discursos nem sempre abordam música, misoginia, antissemitismo, homofobia e branqueamento de forma direta. O valor das obras de arte diminui quando as analisamos em função da competência e elaboração técnica apenas.
Palavras-chave: Mário de Andrade – Preconceito – Homofobia – Racismo – Musicologia
“Every Freedom Song Comes from the Gaol: Homophobia, Misogyny and Racism in the Reception of Mário de Andrade’s Work” resorts to queer theory, feminism, musicology, the history of medicine, Brazilian history and literary criticism in order to confront texts from magazines, newspapers, books, music and correspondence written by Mário de Andrade with those of his contemporaries.
The first chapter explains how the newspaper Folha da Noite (1923), the magazine Revista de antropofagia (1929) and the newspaper Dom Casmurro (1939) moved racist, misogynist and homophobic campaigns against Mário de Andrade – the first of which hitherto unacknowledged by the literature.
The second chapter stresses Mário de Andrade’s empathy with figures of homoeroticism and subalternity as presented in the 1922 poetry book Paulicea desvairada (Deranged São Paulo city) to argue that stylization testifies to how society has condemned some people and their practices to ignominy and silence.
The third chapter interprets Mário de Andrade’s discourses on music insofar as they contest authoritarianisms and prejudices disseminated in the contemporary image-repertoire. While the popular “pretty boys” figures implies homosexuality, effeminacy, transvestism and male prostitution, such poems as“A caçada” (The hunt) and “Nocturno” (Nocturne), from Paulicea desvairada, and “Cabo Machado” (Corporal Machado), from the 1926 book Losango cáqui (Khaki lozenge), confront the reader with the mulatto in compositions that blend subalternity, music and nationality, in which the ideas of race, modernization, masculinity and nationalism betray an anti-authoritarian frame of mind.
Mário de Andrade’s “art world” (Becker, 1982) depends on interaction with the mental and social universe of the time. Production and interaction do not take place without discourse, and such discourses not always tackle music, misogyny, anti-Semitism, homophobia and whitening in a direct way. The value of art works is lessened when they are analysed according to technical competence and elaboration only.
Key-words: Mário de Andrade – Prejudice – Homophobia – Racism – Musicology
The campaign also attacked the work of Menotti del Picchia, Guilherme de Almeida and Oswald de Andrade, among others, but the most aggressive insults focus on Mário de Andrade’s work and person.
The articles in Folha da Noite are unknown to researchers from Mário de Andrade and brazilian modernism.
Em 1923 escritores e jornalistas do jornal paulista Folha da Noite criaram a campanha de saneamento moral e estético para criticar os “futuristas” (os escritores paulistas da Semana de Arte Moderna de 1922). Usaram discursos homofóbicos e racistas para insultar Mário de Andrade: José Gallo Netto escreveu seis artigos dedicados à Paulicea desvairada (1922) e, em resposta ao discurso de Mário no Conservatório, Francisco Pati publicou “O crime de Oscar Wilde: São Paulo e seus homens de letras”. Os higienistas da arte transformaram o verso do poema “Nocturno” de Paulicea em símbolo daquilo que detestam. O verso faz referência ao pregão de certo vendedor ambulante em bairro pobre em São Paulo. A técnica de escrita e os temas foram rejeitados por sua falta de poética e elevação. O que Mário valorizou como música e práticas musicais – o violão, a música popular cantada por certo mulato no meio da noite, o pregão do vendedor de batatas – esboça o que virá desenvolver em sua atividade de escritor e musicólogo. O poema, o pregão e o autor foram ridicularizados com referências à doença mental, à homosexualidade, à subversão marxista, à estupidez e ao corpo monstruoso.
A campanha também atacou a obra de Menotti del Picchia, Guilherme de Almeida e Oswald de Andrade, entre outros, mas os insultos mais agressivos focan na obra e pessoa de Mário de Andrade.
Os artigos da Folha da Noite são desconhecidos dos pesquisadores de Mário de Andrade e do modernismo.
Objetivos: Confrontar discursos a respecto de la sexualidad y el género en la bibliografía musicológica reciente: la subalternidad femenina, el silencio sobre lésbicas y gays, la criminalización de la sexualidad de negros y pobres, la desconstrucción de la neutralidad, naturaleza y universalidad de lo masculino como norma de lo humano.
Contenido programático: 1. Exclusión y subalternidad de lo femenino 2. Lésbicas, gays, homosexualidad, homofobia, visibilidad 3. Negros, negritud, masculinidades, cuerpo, derechos humanos 4. Música universal, pensamiento colonizado, crítica cultural 5. Poder, subalternidad, desconstrucción.