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explicitly refer to the
Manifesto in the song "Geléia geral" in the lyric "a alegria é a prova dos nove" (happiness is the proof of nines), which they follow with "e a tristeza é teu porto seguro" (and sadness is your safe harbor).
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was too heterogeneous for overarching arguments to be extracted from it, and that often it had little to do with a post-colonial cultural politics.
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as an alleged tribal rite. Cannibalism becomes a way for Brazil to assert itself against
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movement. Veloso has stated, "the idea of cultural cannibalism fit us, the tropicalists, like a glove. We were ‘eating’
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241:, modernist artist and wife of Oswald de Andrade. The essay was translated to English in 1991 by Leslie Bary;
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496:(38). Translated by Leslie Bary. Pittsburgh: Dept. of Modern Languages, Carnegie-Mellon University: 38–47.
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Jauregui, Carlos, A. (2012). McKee Irwin & Szurmuk, Robert & Mónica (ed.).
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Brutality garden : Tropicália and the emergence of a
Brazilian counterculture
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Original 1928 Publication in
Revista de Antropofagia, featuring a line drawing of
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One of the
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created a mural in honour of what would have been
Andrade's 100th birthday.
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Um
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In the 1960s, introduced to the work of Oswald de
Andrade by
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is more directly political than Oswald's previous manifesto,
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461:"Tarsila do Amaral: Inventing Modern Art in Brazil | MoMA"
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Article in
English about Antropofagia by Carlos Jauregui
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ODIP: The Online
Dictionary of Intercultural Philosophy
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saw the Manifesto as a major artistic influence on the
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626:: CS1 maint: multiple names: authors list (
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399:In 1990, Brazilian visual artist
384:Tropicalia: ou Panis et Circensis
275:woman with human body parts" by
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490:Latin American Literary Review
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647:. Chapel Hill, NC.
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286:Une Saison en Enfer
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313:cannibalism
309:primitivist
898:Tropicália
882:Categories
802:Pau-brasil
557:2020-08-18
533:2020-08-18
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