Daniel F. Silva
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781786941008
- eISBN:
- 9781789628999
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786941008.003.0002
- Subject:
- Literature, European Literature
This chapter provides an exploration of the decolonial possibilities in works by the Brazilian Modernist movement of the early twentieth century – Antropofagia [Anthropophagy] – namely key works by ...
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This chapter provides an exploration of the decolonial possibilities in works by the Brazilian Modernist movement of the early twentieth century – Antropofagia [Anthropophagy] – namely key works by its most acclaimed writers, Mário de Andrade and Oswald de Andrade. The first chapter, ‘Decolonizing Consumption and Postcoloniality: a Theory of Allegory in Oswald de Andrade’s Antropofagia,’ interrogates what I argue to be a central aspect of the works and political project of the movement – the deployment of a particular mode of allegory, one of consumption. I explore this allegory of consumption beyond canonical readings of the movement’s cannibal metaphor in relation to Oswald de Andrade’s collection of poetry, Pau Brasil [Brazilwood], in addition to his seminal manifesto, ‘Manifesto Antropófago’ [‘Antropophagic Manifesto’] (1928).Less
This chapter provides an exploration of the decolonial possibilities in works by the Brazilian Modernist movement of the early twentieth century – Antropofagia [Anthropophagy] – namely key works by its most acclaimed writers, Mário de Andrade and Oswald de Andrade. The first chapter, ‘Decolonizing Consumption and Postcoloniality: a Theory of Allegory in Oswald de Andrade’s Antropofagia,’ interrogates what I argue to be a central aspect of the works and political project of the movement – the deployment of a particular mode of allegory, one of consumption. I explore this allegory of consumption beyond canonical readings of the movement’s cannibal metaphor in relation to Oswald de Andrade’s collection of poetry, Pau Brasil [Brazilwood], in addition to his seminal manifesto, ‘Manifesto Antropófago’ [‘Antropophagic Manifesto’] (1928).
Maite Conde
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780520290983
- eISBN:
- 9780520964884
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520290983.003.0009
- Subject:
- Film, Television and Radio, Film
By the 1920s, new ideas regarding film as the seventh art disseminated in Europe had a profound effect on Brazilian literature, specifically the emergence of an avant-garde literary movement known as ...
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By the 1920s, new ideas regarding film as the seventh art disseminated in Europe had a profound effect on Brazilian literature, specifically the emergence of an avant-garde literary movement known as modernismo, or “modernism.” Charting the new theories regarding cinema as an art form, this chapter examines how they were appropriated and elaborated by modernist writers in Brazil in the 1920s, most notably in the novels of Oswald de Andrade, the poetry of Mário de Andrade, and an urban chronicle by Antônio de Alcântara Machado called Pathé Baby. In examining this experimental literature, the chapter shows how new international ideas regarding film form and aesthetics provided the modernist writers with a tool for critiquing the official trajectory of national modernity in Brazil.Less
By the 1920s, new ideas regarding film as the seventh art disseminated in Europe had a profound effect on Brazilian literature, specifically the emergence of an avant-garde literary movement known as modernismo, or “modernism.” Charting the new theories regarding cinema as an art form, this chapter examines how they were appropriated and elaborated by modernist writers in Brazil in the 1920s, most notably in the novels of Oswald de Andrade, the poetry of Mário de Andrade, and an urban chronicle by Antônio de Alcântara Machado called Pathé Baby. In examining this experimental literature, the chapter shows how new international ideas regarding film form and aesthetics provided the modernist writers with a tool for critiquing the official trajectory of national modernity in Brazil.
Christopher Dunn
- Published in print:
- 2001
- Published Online:
- July 2014
- ISBN:
- 9780807826515
- eISBN:
- 9781469615714
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9780807826515.003.0002
- Subject:
- History, Latin American History
Modernismo is a literary and cultural movement that emerged in the 1920s, which brought together artists who were devoted to the aesthetic development of Brazilian arts and letters in order to ...
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Modernismo is a literary and cultural movement that emerged in the 1920s, which brought together artists who were devoted to the aesthetic development of Brazilian arts and letters in order to advance cultural nationalism. This chapter focus on two major modernist writers, Oswald de Andrade and Mário de Andrade, who both advanced projects for the renovation of Brazilian arts and letters. Oswald authored the most radical gestures of modernismo, which includes two celebrated manifestos: “Brazilwood Manifesto” (1924) and “Cannibalist Manifesto” (1928). On the other hand, Mário's pioneering work in musicology established a modern foundational discourse on Brazilian musical nationalism.Less
Modernismo is a literary and cultural movement that emerged in the 1920s, which brought together artists who were devoted to the aesthetic development of Brazilian arts and letters in order to advance cultural nationalism. This chapter focus on two major modernist writers, Oswald de Andrade and Mário de Andrade, who both advanced projects for the renovation of Brazilian arts and letters. Oswald authored the most radical gestures of modernismo, which includes two celebrated manifestos: “Brazilwood Manifesto” (1924) and “Cannibalist Manifesto” (1928). On the other hand, Mário's pioneering work in musicology established a modern foundational discourse on Brazilian musical nationalism.
David William Foster
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813036656
- eISBN:
- 9780813038445
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813036656.003.0004
- Subject:
- Society and Culture, Latin American Studies
Only two women's names have routinely been attached to the momentous Semana de Arte Moderna: Anita Malfati, who saw the important Armory Show in New York in 1913 and was inspired to spearhead a ...
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Only two women's names have routinely been attached to the momentous Semana de Arte Moderna: Anita Malfati, who saw the important Armory Show in New York in 1913 and was inspired to spearhead a similar show in São Paulo; and Tarsila do Amaral, whose impressive canvases have gone on to become, in the visual arts, veritable monuments of the Semana. However, there was a third woman: Patrícia Galvão. The text published as Paixão Pagu; a autobiografia precoce de Patrícia Galvão (Pagu's Passion: The Precocious Autobiography of Patrícia Galvão) is a private accounting of Galvão's life and feelings that she addressed to her son, Geraldo Galvão Ferraz, at his request. Necessarily, it is tinged with disillusionment about her relationship with the Communist Party in Brazil, a sense of exploitation over the notoriety she gained for her political imprisonment, and, most of all it would seem, bitterness over her failed marriage to Oswald de Andrade. As a letter addressed to Galvão's new lover, it is intensely confidential.Less
Only two women's names have routinely been attached to the momentous Semana de Arte Moderna: Anita Malfati, who saw the important Armory Show in New York in 1913 and was inspired to spearhead a similar show in São Paulo; and Tarsila do Amaral, whose impressive canvases have gone on to become, in the visual arts, veritable monuments of the Semana. However, there was a third woman: Patrícia Galvão. The text published as Paixão Pagu; a autobiografia precoce de Patrícia Galvão (Pagu's Passion: The Precocious Autobiography of Patrícia Galvão) is a private accounting of Galvão's life and feelings that she addressed to her son, Geraldo Galvão Ferraz, at his request. Necessarily, it is tinged with disillusionment about her relationship with the Communist Party in Brazil, a sense of exploitation over the notoriety she gained for her political imprisonment, and, most of all it would seem, bitterness over her failed marriage to Oswald de Andrade. As a letter addressed to Galvão's new lover, it is intensely confidential.
