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UNIVERSIDADE FEDERAL DE SANTA CATAR
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2 Catalogação na fonte pela Bibli
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4 To the Empress, for reasons far b
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6 ABSTRACT Through a dialogical rel
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8 TABLE OF CONTENTS CHAPTER I Intro
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10 Although Tropicália coalesced a
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12 America people began to change t
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14 CHAPTER II Defining Concepts The
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16 poetry as a new “revolutionary
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18 definida, o tropicalismo introdu
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20 by contemporary international tr
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22 relationship to the object (for
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24 way, or no way. Americans entere
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26 grounds of the world became even
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28 did not want to risk a major con
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30 3.4 Global Dominance Race Begins
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32 Minh’s army, and a cease fire
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34 However, America’s success was
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36 As Kennedy was commemorating 100
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38 that could not be asked, neither
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40 and now controlled its will. For
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42 States. To oppose war meant that
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44 Alongside Day on all her struggl
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46 economic, and political. Even th
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48 bourgeois or aristocrats.” 97
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50 Finally, there is also the biogr
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52 Mass media was then a promising
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54 them - proved to be quite a “n
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56 later be summed up on Médici sl
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58 between the artists prevailed ab
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60 Oiticica’s art and ideas were
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62 The first phase of the Cinema No
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64 imported distinguished directors
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66 artists of the highest caliber m
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68 songs of protest. The music itse
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70 instruments, and singers’ voic
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72 could have imagined that that se
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74 “repente” 166 of Tom Zé, co
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76 However, the onus of this mass a
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78 Deslocar a arte do espaço no qu
- Page 82 and 83: 80 Ginsberg and other beat writers,
- Page 84 and 85: 82 for older poets, but it was exac
- Page 86 and 87: 84 like Vicente Celestino, 193 Catu
- Page 88 and 89: 86 their poetry and songs. The atom
- Page 90 and 91: 88 “macumba.” In both cases the
- Page 92 and 93: 90 connection, only a stream of wil
- Page 94 and 95: 92 6.4. Poetic Bodies in Action The
- Page 96 and 97: 94 artists of the time were ignorin
- Page 98 and 99: 96 of the cool youth of the United
- Page 100 and 101: 98 which would bring freedom and ju
- Page 102 and 103: 100 into myths, Caetano repeatedly
- Page 104 and 105: 102 wrong to consider such artists
- Page 106 and 107: 104 Americans of the 1950s as a nob
- Page 108 and 109: 106 Primary Sources REFERENCE LIST
- Page 110 and 111: 108 Chomsky, Noam, and Herman, Edwa
- Page 112 and 113: 110 Mendes, Murilo. “Pirâmide,
- Page 114 and 115: 112 U.S. Department of State Online
- Page 116 and 117: 114 lightning in the mind leaping t
- Page 118 and 119: 116 who howled on their knees in th
- Page 120 and 121: 118 who were burned alive in their
- Page 122 and 123: 120 and who therefore ran through t
- Page 124 and 125: 122 Breakthroughs! over the river!
- Page 126 and 127: 124 “America” America I've give
- Page 128 and 129: 126 Bloor made me cry I once saw Is
- Page 130 and 131: 128 “Sunflower Sutra” I walked
- Page 134 and 135: 132 The warm bodies shine together
- Page 136 and 137: 134 “Batmacumba” Batmakumbayêy
- Page 138 and 139: 136 “Geleia Geral” Um poeta des
- Page 140 and 141: 138 Sem lenço sem documento Nada n