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2014, Big Red & Shiny
Review of Brazilian visual artist Adriana Varejão's survey show at the Institute of Contemporary Art, Boston as seen through the lens of Oswald de Andrade's 1928 "Manifesto Antropófago" and José Lezama Lima's 1957 "La curiosidad barroca", both expressions of Latin American cultural cannibalism and transformation as an aesthetic mode of resistance against the colonial condition.
Anthropophagy as a concept of Brazilian avant-garde at the end of 1920s. Between history, myth and artistic conception, „Art Inquiry”, nr 17 (2017), pp. 187-204.
Organization
Can the subaltern eat? Anthropophagic culture as a Brazilian lens on post-colonial theory2012 •
Stedelijk Studies 9
From São Paulo to Paris and Back Again: Tarsila do Amaral2019 •
This article surveys the 1920s transatlantic trajectory of painter Tarsila do Amaral, whose contributions to the history of a global modernism have recently begun to be more widely recognized. By arguing that Amaral’s negotiation of a place in the international art world can serve as a model for exhibiting contemporary art from non-mainstream areas, the essay also underscores the relevance of avant-garde ideas for the contemporary art world.
Santa Barbara Portuguese Studies
Antropofagia, Brasilidade And Translation in Recent International Scholarship2019 •
Abstract: Tradução antropofágica (anthropophagic translation), proposed by brothers Haroldo and Augusto de Campos, has become a major topic in international discussions of Brazilian Translation Theory, and therefore became immediately relevant for the discussion of brasilidade (Brazilianness, Brazilian cultural identity). The present paper surveys how recent international scholarship (spanning from the 1990s on) has conceptualized and described antropofagia; it points to the little analytical efforts towards its cultural products (i.e. of traduções antropofágicas) and to problems pertaining the metaphorical status of antropofagia: its universalization (compromising its specificity) and its potential for negative use. The review of literature undertaken leads to the conclusion that antropofagia must be faced as a political speech act, and suggests its cultural artifacts be analyzed for a deeper understanding of the movement. Keywords: anthropophagy; Haroldo de Campos; Augusto de Campos; Mário de Andrade; Translation Studies. Resumo: A tradução antropofágica proposta pelos irmãos Haroldo e Augusto de Campos se tornou o principal tópico das discussões internacionais sobre teoria brasileira de tradução, e portanto diretamente relevante para a discussão internacional da brasilidade, ou identidade cultural brasileira. Este artigo realiza um levantamento de como a crítica internacional recente (i.e. a partir de 1990) conceituou e descreveu antropofagia; aponta ainda para a falta de análise de seus produtos culturais (i.e. as traduções antropofágicas) e para problemas teóricos relativos ao estatuto metafórico do termo antropofagia: a universalização (comprometedora de sua especificidade) e seu potencial para uso negativo. Em vista da revisão empreendida, conclui-se que a antropofagia deve ser encarada como um ato de fala político, e se solicita que seus artefatos culturais sejam analisados para uma maior compreensão do movimento. Palavras-Chave: antropofagia; Haroldo de Campos; Augusto de Campos; Mário de Andrade; Estudos da Tradução.
The "New Man" in Radical Right Ideology and Practice, 1919-45
Envisioning the 'New Man' in 1930s Brazil2018 •
The Brazilian pavilion at the 1939 New York World's Fair turned out to be one of the most memorable, iconic highlights of this global event on the eve of the Second World War. Occupying a moderate-sized curved rectangular plot on the edge of the exhibition's Government zone at the recently reclaimed lands of Flushing Meadows, it offered a surprising glimpse of a country that basked in the glory of its kaleidoscopic traditions and its seeming contradictions but that had confidently directed its gaze toward a futural vanishing point. Nine years after the 1 " revolution " headed by Getúlio Vargas, and just two years after the regime that he headed had mutated into an increasingly authoritarian dictatorship with a new constitution based on corporatist ideas (the New State—Estado Novo), the Brazilian government used the occasion of 2 the 1939 World's Fair—for which, for the first time, it had commissioned an ad hoc national pavilion—to project a self-assured image of modernity, progress, and above all cultural optimism for the vast South American country that had only recently celebrated its first centenary of independence. 3 The pavilion—a subtly angular exhibition building with clean lines and gleaming white surfaces, raised on pilotis, accessed through a curved ramp, and framing an internal " tropical garden " —was the work of two young architects who, at the time, were on the cusp of making their mark on the global architectural scene as the two most authoritative names of that special, confident, and independent " Brazilian way " to modernism. Lucio Costa was actually the sole 4 winner of the national architectural competition for the pavilion, yet he decided to work together
2015 •
ABSTRACT: Oswaldo Costa was a key member of the Brazilian modernist Antropofagia (Anthropophagy) movement of the late 1920s, yet he has been largely forgotten by critics and marginalized from national cultural history. Costa articulated —as no other member of the movement did, including his famous leader Oswald de Andrade— an Antropofagia intellectually engaged in what we call a cannibal critique of colonial modernity and Occidentalism. Costa’s Antropofagia cannibalized the historical archive, reading against the grain of a triumphant Western imperial history. Throughout his contributions to the Revista de Antropofagia, he questioned Brazil’s cultural allegiance to Europe, pointed out the existence of asynchronous temporalities within Brazil, and defied Eurocentric notions of civilization and progress that ideologically structure Brazilian nationalism in the ninetieth and twentieth centuries. He also enacted an anthropophagous re-reading of Brazilian historiography against its celebration of colonialism and proposed the necessity of a cultural decolonization. This article analyzes Costa’s principal contributions to Antropofagia and rescues his hitherto overlooked countercolonial thought from the oblivion of collective forgetting. Moreover, it examines Costa’s significant view of Brazilian modernity as a perfidious armistice with other barbarous temporalities, and of the Westernization of Brazil as a deceptive appearance that hides ever-present colonial antagonisms. ARTICLE AVAILABLE. LINK @ URL http://cultureandhistory.revistas.csic.es/index.php/cultureandhistory/article/view/82/294
The Tropicália movement (1967–1969) appeared to represent a radical break away from popular music tradition in Brazil, its heterogeneous, irreverent aesthetic seen as retrograde to Brazil’s struggle for cultural autonomy. This dissertation intends to demonstrate the authenticity of Tropicália as a Brazilian music by situating it in a number of Brazilian cultural traditions. My argument will focus on Tropicália’s use of ‘cultural cannibalism’, a Brazilian modernist method of constructing cultural identity by way of ‘devouring’ the cultures of others. Ultimately, by drawing attention to Tropicália’s heterogeneous and chaotic reflection of Brazilian society, this dissertation aims to expose the inauthenticity of nationalist essentialisations of Brazilian popular music.
This dissertation uses an intersectional framework (c.f. Kimberlé Crenshaw) to problematize the relation to race and the popular notion of mestizaje (as it is described in Roberto Fernández Retamar’s essay ‘Caliban’) of Oswald de Andrade’s ‘Manifesto Antropófago’. This analysis in turn allows us to problematize both the critical discourse surrounding Shakespeare(s) in Brazil, and the politics of certain (re)productions themselves. With these findings in mind, I consider Augusto Boal’s A Tempestade (1977) and the contemporary work of Márcio Meirelles and the Bando de Teatro Olodum at the Vila Vela theatre in Salvador, Bahia. Using an intersectional framework I observe that Boal’s A Tempestade operates according to the same post-colonial Marxist binary as Retamar, both texts similarly reifying race and centring the colonial encounter as the foundational Latin American origin story. The work of Meirelles and Olodum, on the other hand, de-reifies race, and centres Brazilian cultural roots and intertexts in West Africa.
Fólio Revista de Letras
Anthropophagy as cultural resistance metaphor: How Tasty Was my Frenchman, by Nelson Pereira dos Santos2016 •
2018 •
Forthcoming in Transcultural Psychiatry. Special Issue on Global Mental Health
Challenges for implementing a global mental health agenda in Brazil: The 'silencing' of culture (Forthcoming in Transcultural Psychiatry. Special Issue on Global Mental Health2018 •
PhD dissertation
GINGANDO AND COOLING OUT: The Embodied Philosophies of the African Diaspora, Part II1998 •
Post-colonial translation: Theory …
Post-colonial writing and literary translation1999 •
2019 •
Modern Language Quarterly
“The Future Is Entirely Fabulous”: The Baroque Genealogy of Latin America's Modernity2007 •
1998 •
Researching South-South Development Cooperation The Politics of Knowledge Production, 1st Edition
Devouring international relations: Anthropophagy and the study of South-South cooperation [2019]2019 •
2012 •
2016 •
2018 •
Dictionary of Latin American Studies / "Antropofagia.” Dictionary of Latin American Cultural Studies. Robert McKee Irwin and Mónica Szurmuk (eds.). Gainesville: The University Press of Florida (2012): 22-28.
Antropofagia (Cultural cannibalism)2012 •
2014 •
Researching South-South Cooperation: The Politics of Knowledge Production
Devouring international relations: Anthropophagy and the study of South-South cooperation {Chapter, 2019]2019 •