In his 1928 Manifesto Antropófago, the Brazilian poet and playwright Oswald de Andrade encouraged Brazilians to appropriate, consume, digest, and assimilate European theories and styles to enhance the Brazilian avant-garde. Oswald's theory of "cultural cannibalism," or Anthropophagy, has since been reinterpreted to serve various purposes in Brazilian art. In the early 1960s Anthropophagy was important to Neo-Concretists, who shifted the focus of the artwork to the viewer's body. The theory was then revived by the Tropicalists for its subversive nature and tactics of appropriation. Anthropophagy was immensely important to the generation of artists who worked during the Brazilian military regime in the 1960s and 1970s, who would use Anthropophagy as a model for appropriating elements of military rule to criticize the government. The themes of the Manifesto Antropófago are often evident in the works of Cildo Meireles, whose art seems to employ Anthropophagy as a conceptual model. In his investigation of the effects of consumerism, sensory perception, and imperialism and colonialism, Meireles employs the elements of appropriation and subversion that are part of an Anthropophagic legacy. Meireles' interest in Anthropophagy culminates in a utopian interpretation of the theory, and a redefinition of its significance in terms of Brazilian identity. / Art History

Submitted by PPGE PPGE (pgedu@ufba.br) on 2015-11-18T12:33:47Z No. of bitstreams: 1 Tese_Cleverson_pdg.pdf: 927647 bytes, checksum: bd77de17487e9213addcbf19e1510b1a (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2015-11-24T14:47:33Z (GMT) No. of bitstreams: 1 Tese_Cleverson_pdg.pdf: 927647 bytes, checksum: bd77de17487e9213addcbf19e1510b1a (MD5) / Made available in DSpace on 2015-11-24T14:47:33Z (GMT). No. of bitstreams: 1 Tese_Cleverson_pdg.pdf: 927647 bytes, checksum: bd77de17487e9213addcbf19e1510b1a (MD5) / Nas últimas décadas, o fazer científico tem suscitado uma série de questionamentos, que dizem respeito a quais diretrizes o mesmo deve seguir ou abandonar. Na busca de aprofundar essa discussão, estar-se-á evidenciando algumas reflexões em torno das problemáticas contemporâneas sobre o fazer ciência e sua articulação com o capital. Vislumbra-se com a discussão aqui realizada apontar caminhos problematizantes para a construção de outra postura para a produção do conhecimento e para a prática pedagógica. É preciso esclarecer que as reflexões aqui desenvolvidas têm como fio condutora história, por se entender que a mesma é o caminho para a compreensão dos acontecimentos da atualidade. No entanto, nada do que fora discutido deve ser tomado como verdade absoluta,mas sim, como construções em caleidoscópio, ávidas por interlocutores críticos que possam contribuir para um novo pensar e produzir conhecimento. A discussão que se está apresentando deve ser lida como sinalizador que proporcione a todos aqueles que acreditam na possibilidade de um outro olhar cientifico e outra prática pedagógica, um banquete de idéias problematizadoras. Nesta perspectiva, busca-se ampliar a discussão a respeito de alguns conceitos chaves, como por exemplo a antropofagia, para uma melhor compreensão do que estamos chamando de uma postura antropofágica. Tal postura que, a nosso ver, proporciona a devoração dos lugares, ou melhor, do que há de positivamente singular nos mesmos, promovendo a potencialização das ações solidárias produtora de saberes-conhecimentos próprios e orgânicos de cada tempo-espaço. Assim, esta reflexão deve ser vista como um convite para um banquete histórico sobre conhecimento, poder, educação e antropofagia, não tendo, portanto, nenhuma intenção de ser conclusiva. / RESUMEN En las últimas décadas, el hacer científico ha suscitado una serie de cuestionamientos que hablan a respecto de cuáles directrices el mismo debe seguir o abandonar. En la búsqueda en profundizar esa discusión, se ha evidenciado algunas reflexiones en torno de las problemáticas contemporáneas, sobre el hacer ciencia y su articulación con el capital. Se ha vislumbrado, con la discusión aquí realizada, apuntar caminos conflictivos hacia la construcción de otra postura en dirección a la construcción del conocimiento y de la práctica pedagógica. Es necesario aclarar que las reflexiones desarrolladas en el trabajo tienen como hilo conductor la historia, por entenderse que la misma es el camino hacia la comprensión de los acontecimientos de la actualidad. Sin embargo, nada de lo que ha sido discutido debe ser tomado como verdad absoluta, sino, como construcciones en calidoscopio, ávidas por interlocutores críticos que puedan contribuir para un nuevo pensar y producir conocimiento. La discusión que se presenta debe ser leída como una señal que proporcione, a todos aquellos que creen en la posibilidad de otra mirada científica y otra práctica pedagógica, un banquete de ideas conflictivas. En esa perspectiva se busca ampliar la discusión a respecto de algunos conceptos claves, como por ejemplo, la antropofagia para una mejor comprensión de lo que llamamos postura antropófaga. Tal postura, en nuestra opinión, proporciona el canibalismo de los lugares, o sea, de lo que hay de positivo en los mismos, promoviendo la potencialidad de las acciones solidarias productoras de saberes-conocimientos propios y orgánicos de cada tiempo-espacio. De esa manera, la reflexión propuesta debe ser vista como una invitación a un banquete histórico sobre conocimiento, poder, educación y antropofagia, con la intención de no ser conclusiva. / ABSTRACT In the last decades of this century, the scientific making has excited many questions which ones reveal the lines of direction it must follow or abandon itself. To deep the discussing, this research have been showed some reflections around the problematic contemporaries about science and its joint with the capital. It intends to point some ways to the construction of another position for the production of the practical knowledge and the pedagogical one. It is necessary to clarify that the thinking developed here has the History as conducting wire to understand that it is the way to know the events of the present time. However, the result of this research is not the absolute truth, but yes, it is a kind of constructions in kaleidoscopes, eager for critical interlocutors who can contribute to investigate new ways of thinking and producing knowledge. The presented discuss, however, must be read as a sign that provides to all that believe in possibility of another scientific views and pedagogical practice, as a slap-up meal of critical ideas. In this perspective, some keywords have been studying hard by us, as for example the anthropophagy, for one better understanding that we are calling an anthropophagic position. Such position provides “eating” places, or better, “eating” things that are positively singulars and promote friendly actions of proper and organic knowledge of each time-space. Thus, this discuss must be seen as an invitation for a historical slap-up meal on knowledge, power, education and anthropophagy, having, therefore, no intention of being conclusive.

[pt] Este ensaio-tese parte da minha inquietação acerca dos modos de relacionamento entre o mesmo e os outros, entre o sujeito e o objeto, em suma, entre os processos de subjetivação da modernidade / colonialidade e as alteridades ou outras gnosiologias não ocidentais. Como se colocar diante de outras ontologias, outras epistemologias e outras éticas ao deparar-se com esses modos diferentes de saber e de agir? Seria inviável essa investigação do campo de confronto entre diferenças, campo que incorpora [encorpora] no debate a potência de ação de cada conceito, afeto e percepto, sem repensar a fórmula da tese de doutorado e da pesquisa acadêmica. Optei, então, por uma escrita múltipla e fragmentária menos presa à disciplina formal e diacrônica e mais experimental para produzir efeitos sincrônicos, explorando a idéia dos giros da espiral que se estendem ao infinito. Enfatizo que se trata não tanto de definir e classificar identidades e sujeitos na relação com o outro e, sim, de entrar na onda dos devires e da encorporaçãoaglomeração- devoração da antropofagia num movimento relacional, contínuo e de diferenciação. Deste modo, outros eus se enunciam através de amotinações que visam descolonizar o pensamento. / [en] This essay-thesis comes from my restlessness about the way the relationship between me and the others , between the subject and the object, insummary, between the subjectivizing process of the modernity / coloniality and the alterity or other non occidental gnosiologies. How to behave in front of the other ontologies, other epistemologies and other ethics when facing this different ways of knowledge and action? It would be impossible this investigation from the field of confront between differences, field that incorporates [embodies] at the debate the power of action of each concept , affection and perception, without rethinking the formula of the doctorate thesis and the academic research. I choose, in that case, for a multiple and fragmented writing less tightened to the formal and diachronic discipline and more experimental in order to produce synchronic effects, exploring the idea of the turns of the spiral which extend to the infinity. I emphasize that it does not deal with defining or classifying identities and subjects in relation with the other but in entering in the wave of becoming-intense and of emboding-gatherig-devouring of anthropophagy in a relational movement , continuous and differentiated. In this way, other me introduce themselves through the uprisings which aim to decolonize the thought.

The present thesis uses as its primary source of inspiration Argentine author Abel Posse's El largo atardecer del caminante (1992), which boasts the historically-based, unconventional Spanish conquistador, Álvar Núñez Cabeza de Vaca, as its main protagonist and narrator. I explore the juxtaposition of two opposing forms of metaphorical consumption in the novel. To highlight the first, I apply to the fictional Cabeza de Vaca the general concept of antropofagia cultural, or "cultural cannibalism," as described by Brazilian writer Oswald de Andrade in his "Manifesto Antropófago" (1928). I specifically examine the symbolic development of Posse's Cabeza de Vaca as the first latinoamericano via cultural anthropophagy. Over time, the life-altering experiences during the course of his wanderings in North and South America convert him into an antropófago cultural by virtue of his conscientious, metaphorical consumption of the Other. By extension, Cabeza de Vaca becomes a model for the first latinoamericano, wrought, not through miscegenation, but rather through cultural contact. The second kind of consumption, on the other extreme, is represented in the novel through sixteenth-century Spain and its quasi-literal, compulsive consumption and subsequent expulsion of the New World Other. This is seen through the optic of the fictional Cabeza de Vaca in his waning moments in Seville. Posse's rendition of Spain, as seen through his historically-inspired narrator, is representative of the metaphorical indigestion caused by a thoughtless consumption of products, practices, lands, and even people from the New World. I put on display the manner in which sixteenth-century Spain is portrayed in the novel as suffering a figurative bloating, consuming so much, so fast, seemingly growing large and powerful until it is ultimately revealed as being sick and weak.

<p>The abscence of the brazilian artist Tarsila do Amaral (1886–1973) in the general art history is investigated, using the colonial structure as a starting point. In South America she is regarded as one of the greatest artists in modern time, in the rest of the world she is more or less unknown. The conclusion is that the colonial mechanisms are still in progress in our assumed postcolonial world, and has excluded Tarsila do Amaral, and the anthropophagic movement she was a part of, from the art history. The study points out the importance of looking into this neglected artist and the historic event. Not only to add it to the history of art, but also to show how anthropophagy as an artistic strategy created in the 1920’s Brazil is as relevant today as it was then. Three oil paintings of Tarsila do Amaral is used to describe the artistic strategy that solved the problem of beeing shaped as a mirror image to the western world. The paintings A Negra, Abaporu and Antropofagia tells us the story of how the Brazilian people started to see themselves as culturaly independent from Europe. Neither as something opposite nor similiar, but as something between. Anthropophagy is challenging our notion of ”us” and ”them” as well as centre and periphery – and is therefor useful in the writing of art history. Its not only important to make room for Tarsila do Amaral in the history of art – its also urgent to let her contribution be a part of the present art world.</p>

À une époque qui se concentre sur l’avenir de l’humanité, Maupassant s’intéresse aux origines. Pour lui, l’homme est un « animal humain » en qui coexistent le moderne et l’archaïque. C’est à ce regard original que nous invite son œuvre, qui travaille à montrer le primitif dans et non contre le civilisé. En quoi le primitif est-il une figure dérangeante ? En quoi le rapport à la nature et au corps est-il primitif ? Ici, le rapport à la nature, le corps, la sexualité, l’animalité, la bêtise sont traités comme des composantes irréductibles de l’humain. Mais la nature et le corps sont fondamentalement ambivalents. La figure du primitif, par son inscription dans la matière, est donc un miroir troublant tendu à l’homme du XIXe siècle. Ainsi définie, la notion de primitif fonctionne, si l’on peut dire, comme un pavé dans la mare, qui éclabousse la notion de civilisation et ses valeurs. Dénonçant la société comme dénaturée, Maupassant en vient à mettre en question la définition même de la civilisation et à mettre en cause l’opposition traditionnelle entre sauvage et civilisé. L’acception anthropologique de la notion de primitif, et plus particulièrement le principe de « participation », jettent a posteriori un éclairage singulier sur l’œuvre. C’est l’angle d’attaque de la dernière partie. Parce qu’elle échappe au normatif, la figure du primitif met à mal ce qui, dans la société, a valeur de cadre, de loi. Aussi assiste-t-on chez Maupassant au brouillage des différenciations sexuelle, sociale et morale, ainsi qu’au brouillage des frontières entre folie et raison, et entre fantastique et réaliste. De cet ébranlement des repères participe, enfin, une écriture elle-même primitive. / At a time when the future of humanity was all that mattered, Maupassant focused on the origins. For him man is a “human animal” combining elements of both modern and archaic behaviour. This original approach is the one Maupassant wants us to adopt with regard to his work, in which he endeavours to reveal the primitive aspect of man within his civilized refinement and not in opposition to it. In what way is the primitive an element which is disturbing? How does Maupassant portray the relationship between nature and the human body as primitive? He describes nature, the body, sexuality, animality and stupidity as irreducible components of man. However, nature and the human body are fundamentally ambivalent. The primitive element holds up a disturbing mirror image to the 19th century man. As such, it is tantamount to setting the cat among the pigeons, thereby tarnishing the notion of civilized man and his values. By condemning society as unnatural, Maupassant challenges the actual definition of civilized behaviour, and questions the traditional opposition between the civilized and the uncivilized. The anthropological acceptance of the concept of primitive, and in particular the principle of “participation”, in hindsight throws a different light on Maupassant’s works. This is the angle adopted in the last section. Because it defies norms, the notion of primitive refutes what constitutes the framework and laws of society. Hence Maupassant’s works blur the distinctions between social, sexual and moral behaviour, as well as those between madness and reason, between fantasy and realism. Lastly Maupassant contributes to this breakdown of bearings with his primitive style of writing

O objetivo desta tese é estudar as escolhas temáticas, lexicais e estilísticas presentes na obra poética de Raul Bopp, produzidas contemporaneamente às manifestações da Antropofagia e detectar, a partir da constituição do ethos antropofágico, a expressão do conceito de brasilidade nas obras mais representativas: Cobra Norato e Urucungo. A recolha e a análise das escolhas foram feitas sob a ótica da Estilística e dos Estudos discursivos, fruto de uma visão interacionista e dialógica que trabalha o signo como uma instância de disputa pelo poder. O poeta, ao recuperar culturas silenciadas, dar voz a elas, e propor antropofagicamente a devoração constante, reconhece e valoriza a alteridade numa época em que a desigualdade entre etnias e raças tinha sido naturalizada. A metáfora da pele de seda elástica, presente em Cobra Norato, não é só representativa dessa obra, ela pode ser esticada à vida e à obra poética de Bopp: um antropófago que correu o mundo em busca de colher antropologicamente informações sobre as culturas para depois registrá-las poeticamente em suas obras. / The main purpose of this thesis is to study the thematic, lexical and stylistic choices in the poetic work of Raul Bopp, produced contemporaneously to Anthropophagy movement, and detect, from the constitution of the anthropophagic ethos, the expression of the concept of brazilianness in two of the most significant Bopp\'s poetic works: Cobra Norato and Urucungo. The collection and analysis of lexical choices were made from the Stylistics\'s and Discursive Studies perspective, the result of a dialogic and interactionist vision that works the sign as an instance of power struggle. The poet, when recovering silenced cultures, giving them voice, and suggesting anthropophagically the constant devouring, acknowledges and values the otherness in a time when the gap between ethnicity and races has been naturalized.The elastic silk skin metaphor, presented in Cobra Norato, can be stretched to Bopp\'s life and poetry: an anthropophagous who toured the world in search of different cultures, anthropologically collecting data that later became his poetry

O presente trabalho constitui uma análise do processo de reorientação das guerras indígenas no Brasil colonial empreendida mediante a investigação da atividade bélica indígena na capitania da Bahia entre a instalação do governo-geral em 1549 e a invasão holandesa na Bahia de 1624. Trata-se de uma revisão bibliográfica dos estudos antropológicos clássicos acerca do complexo bélico tupinambá e posterior cotejamento com as diferentes configurações assumidas pela guerra indígena nas fontes quinhentistas e seiscentistas e na historiografia contemporânea. Estabeleceu-se como objetivos de estudo avaliar as contribuições e limites das análises antropológicas sobre o complexo guerra-sacrifício tupi, a fim de ampliar a compreensão sobre o processo de reorientação da guerra indígena e explicar a participação indígena nas guerras realizadas na Bahia, bem como avaliar em que medida a atuação dos missionários cristãos como mediadores culturais auxilia a compreensão desse processo. No âmbito teórico, focalizou-se a atuação dos missionários como mediadores das relações interculturais durante a missão jesuíta na Bahia com o aporte da teoria da mediação cultural. Como diretriz metodológica, optou-se pelo gênero narrativo-descritivo para transcrever as narrativas que abordam o processo de transformação das guerras intertribais em guerra coloniais, a fim de evidenciar as diferentes perspectivas teóricas sobre a guerra indígena. Analisaram-se criticamente as representações das guerras nas diferentes fontes, a partir das quais se elaborou a reconstituição de dois processos: a adaptação do sistema bélico tupi para o atendimento das necessidades bélicas coloniais e a construção de uma nova ideologia de guerra com a ênfase na belicosidade indígena e na antropofagia para justificar as novas demandas geradas no contexto da colonização. Identificaram-se como principais resultados do estudo, a utilização da prática bélica indígena como instrumento de colonização e exploração econômica, a exacerbação da belicosidade indígena nos discursos europeus para justificar a necessidade da colonização e a reconfiguração das guerras realizadas no Novo Mundo, que a partir do encontro ultrapassaram as antigas rivalidades intertribais e tornaram-se conflitos coloniais. / This study is an analysis of the reorientation process of the Indian Wars in colonial Brazil undertaken by investigating the indigenous war activity in the captaincy of Bahia between the implementation of Government-General in 1549 and the Dutch invasion in Bahia 1624. Before achieving this goal we make a literature review of the major anthropological studies about Tupinamba Wars confronting these with the references given by the sources and the contemporary historiography that shows that the Indian war in the sixteenth and seventeenth centuries assumed different configurations. It was established as study aims to evaluate the contributions and limits of anthropological analyzes of the Tupi war-sacrifice complex, in order to broaden the understanding of the reorientation process of the Indian war and explain the indigenous participation in wars conducted in Bahia, as well as to evaluate if the focus in missionary activity between Indians helps the understanding of this process. In the theoretical realm, we analyzed the performance of missionaries as cultural brokers for the Jesuit mission in Bahia with the contribution of the theory of cultural mediation. As a methodological guideline, we opted for the narrative-descriptive genre to transcribe the stories that address the transformation process of intertribal wars in colonial war in order to highlight the different theoretical perspectives on indigenous war. We analyzed critically the representations of wars in different sources which made possible the reconstruction of two processes: the adaptation of the Tupi war to answer the colonial war needs and the construction of a new ideology of war with emphasis on Indian bellicosity and cannibalism to justify the new demands generated in the context of colonization. It was identified as the main results of this study, the use of indigenous war practice as colonization and economic exploitation instruments, the intensification of the indigenous bellicosity in European speeches to justify the need for colonization and the reconfiguration of the wars carried out in the New World, that since the encounter overcame the intertribal rivalries and became colonial conflicts.

Neste estudo discutimos as principais metamorfoses do marxismo brasileiro tomando como base três momentos diferentes, enquadrados em três intervalos de tempo. A saber, o de recepção (1917-1930), fomentado principalmente pela intelectualidade ligada ao recém-fundado Comitê Central do Partido Comunista do Brasil; o de tradução (1930-1945) que teve na obra do historiador Caio Prado Júnior seu momento mais decisivo; e o de domesticação (1955-1970), período no qual o marxismo 1) ganha foro privilegiado nos espaços acadêmicos da Universidade de São Paulo 2) se rotiniza no campo intelectual e 3) se torna hegemônico na esquerda brasileira a partir da interpretação que lhe conferira a academia uspiana. Ao acompanhar este processo foi possível detectar passo a passo a decadência ideológica do marxismo brasileiro, transformado em discurso, esterilizado de todo o seu conteúdo emancipatório original. / In this study we discuss the main transformation on the Brazilian In this study we discuss the main transformations on the Brazilian Marxism, taking as reference three different moments, in three different time frames: first, the introduction period (1917-1930), mainly fed by the intelectuals associated to the Central Commitee of the recent criated Brazilian Comunist Party, PCB; second, the translation period (1930-1945), whose main intellectual exponent was the historian Caio Prado Junior and his works. And finally, the third moment called routinization (1955-1970) when Marxism receives great importance in the academic environment in the University of Sao Paulo (USP), going into mainstream intelectual circles and becoming the hegemonic way of thinking among the Brazilian left after USP\'s interpretations. By analyzing this evolution process, it was possible to follow step by step the \"ideological decay\" of Brazilian Marxism, transformed into a mere discourse, stripped of all its original emancipatory content.

Made available in DSpace on 2016-04-25T20:23:08Z (GMT). No. of bitstreams: 1 Luciana Gama Longobardi.pdf: 418220 bytes, checksum: 0cd0d07c2e30881bd81e5065eb971bb7 (MD5) Previous issue date: 2010-06-08 / This paper proposes a reading of the idea of anthropophagy, developed by Oswald de Andrade in the 20s, having in the central axis two of his major works: A man without profession Under mom s orders and Cannibal Manifesto. For this we used a methodological procedure developed by Guilles Deleuze and Félix Guattari, called by them as rhizome. It is, in the context of this study, a network of connections and steady flows through a discussion of multiplicities whose strength lies in devouring the other. Based on this analytical tool we focus on the narrative style from Oswald de Andrade in which he subverts the model itself, reaching the Brazilian culture under the sign of the mixture and multiplicity / Esta dissertação propõe uma leitura da ideia de antropofagia, elaborada por Oswald de Andrade na década de 1920, tendo como eixo central duas de suas principais obras: Um Homem sem Profissão Sob as ordens de mamãe e o Manifesto Antropófago. Para isso utilizamos um procedimento metodológico elaborado por Guilles Deleuze e Félix Guattari, denominado por eles de rizoma. Trata-se, no contexto desse estudo, de uma rede de conexões e de fluxos constantes através de uma reflexão de multiplicidades cuja força está na devoração do outro. Com base nesse instrumento analítico privilegiamos o estilo narrativo próprio de Oswald de Andrade no qual ele subverte o próprio modelo, alcançando a cultura brasileira sob o signo da mistura e da multiplicidade