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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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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
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One of the
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created a mural in honour of what would have been
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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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Article in
English about Antropofagia by Carlos Jauregui
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ODIP: The Online
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saw the Manifesto as a major artistic influence on the
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924:20th-century Brazilian literature
410:In 1990, Brazilian visual artist
395:Tropicalia: ou Panis et Circensis
286:woman with human body parts" by
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501:Latin American Literary Review
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658:. Chapel Hill, NC.
652:Dunn, Christopher.
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18:Antropofagia
386:the Beatles
351:Shakespeare
343:Hans Staden
324:cannibalism
320:primitivist
909:Tropicália
893:Categories
813:Pau-brasil
568:2020-08-18
544:2020-08-18
518:2015-07-22
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459:References
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