Tropical ginsberg

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20 by contemporary international trends.” 23 Dunn sees the manifesto as being, Structured around a binary tension between “the forest and the school” in the genisis of Brazilian culture[…]the school connotes lettered society, with its formal institutions and technological resources, and the forest serves as natural metaphor for that which was excluded or marginalized from the economic, political, and cultural centers of power and prestige. The second manifesto was the “Manifesto Antropofágico,” 24 published in 1928. In this manifesto, according to Dunn, Andrade suggested “there was no national ‘essence,’ only a dynamic and conflictridden process of critical assimilation, or ‘deglutition,’ of various cultural influences.” 25 With this in mind the tropicalistas began to question the idea of ‘national’ music, or ‘traditional’ music – which will be discussed later on in chapters 4, and 5 – while also promoting much debate over what was ‘popular,’ and what was ‘refined.’ This complex assimilation process which the tropicalistas proposed with some songs can also be seen in the poetry of Allen Ginsberg. Cláudio Willer suggests that Ginsberg and the Beats “[p]rocederam à devoração antropofágica da cultura oficial, e à incorporação e revitalização daquela que estava à margem do sistema, que o establishment havia varrido para debaixo do tapete.” 26 According to the author, one of the innovative and daring sides of the beats is their ability to make “a ponte entre o modernismo anglo-americano, de Ezra Pound e William Carlos Williams, e a vanguarda francesa, principalmente o surrealismo.” 27 It becomes evident that what Ginsberg and the tropicalistas proposed with their art was something provocative 23 Dunn, Christopher. Brutality Garden: Tropicália and The Emergence of a Brazilian Counterculture. North Carolina, University of North Carolina Press, 2001. 15. 24 Which reads, “Anthropophagy Manifesto.” Author’s translation 25 Dunn, Christopher. Brutality Garden: Tropicália and The Emergence of a Brazilian Counterculture. North Carolina, University of North Carolina Press, 2001. 18. 26 Willer, Claudio. Uivo, Kaddish e Outros Poemas. Trans. Cláudio Willer. Porto Alegre: L&PM, 2006. 10. Which reads, “Proceded in the canibalistic devouring of the official culture, and in the incorporation and revitalization of that which was at the margin of the system, that the establishment had swept off to underneath the rug.” Author’s translation. 27 Ibid. Which reads “the bridge between Anglo-American Modernism, of Ezra Pound, and William Carlos Williams, and French avant-garde, especially the surrealism.” Author’s translation.
and new, as well as carefully and beautifully elaborated. It was exactly because of these startling similarities that I was compelled to research more about the dialogical relation which I thought existed between Ginsberg and the tropicalistas. Now, after so much work and research, I am convinced that I was right. Through the aid of the theoretical parameters established by Russian scholar Mikhail Bakhtin in his essay, “The Problem of The Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis,” I established a dialogical relation between Ginsberg’s texts and context, with the tropicalistas songs and context. According to Bakhtin, 21 The utterance (as a speech whole). […] is no longer a unit of language (and not a unit of “speech flow” or the “speech chain”), but a unit of speech communication that has not mere formal definition, but contextual meaning (that is, integrated meaning that relates to value[…]and requires a responsive understanding, one that includes evaluation). The responsive understanding of a speech whole is always dialogic by nature. 28 For Bakhtin there are no “voiceless words that belong to no one. Each word contains voices that are sometimes infinitely distant.” 29 Texts generate meaning when they are related to their context, to what they talk about, and this meaning will always be produced by dialogical relations that we all make while trying to understand a text. Because Ginsberg’s poems and the tropicalistas’ songs have many elements in common, such as the confrontation element, and the provocative element, they end up entering into dialogic relations with each other. Bakhtin says that what matters, Is not elements of the text (units) of language system that have become elements of the text, but aspects of the utterance. The utterance as a semantic whole. The relationship to others’ utterances cannot be separated from the 28 Bakhtin, Mikhail M. Speech Genres & Other Late Essays. Trans. Vern W. McGee. Austin: University of Texas Press, 1986. 125. 29 Ibid. 124.
Page 1: UNIVERSIDADE FEDERAL DE SANTA CATAR
Page 4 and 5: 2 Catalogação na fonte pela Bibli
Page 6 and 7: 4 To the Empress, for reasons far b
Page 8 and 9: 6 ABSTRACT Through a dialogical rel
Page 10 and 11: 8 TABLE OF CONTENTS CHAPTER I Intro
Page 12 and 13: 10 Although Tropicália coalesced a
Page 14 and 15: 12 America people began to change t
Page 16 and 17: 14 CHAPTER II Defining Concepts The
Page 18 and 19: 16 poetry as a new “revolutionary
Page 20 and 21: 18 definida, o tropicalismo introdu
Page 24 and 25: 22 relationship to the object (for
Page 26 and 27: 24 way, or no way. Americans entere
Page 28 and 29: 26 grounds of the world became even
Page 30 and 31: 28 did not want to risk a major con
Page 32 and 33: 30 3.4 Global Dominance Race Begins
Page 34 and 35: 32 Minh’s army, and a cease fire
Page 36 and 37: 34 However, America’s success was
Page 38 and 39: 36 As Kennedy was commemorating 100
Page 40 and 41: 38 that could not be asked, neither
Page 42 and 43: 40 and now controlled its will. For
Page 44 and 45: 42 States. To oppose war meant that
Page 46 and 47: 44 Alongside Day on all her struggl
Page 48 and 49: 46 economic, and political. Even th
Page 50 and 51: 48 bourgeois or aristocrats.” 97
Page 52 and 53: 50 Finally, there is also the biogr
Page 54 and 55: 52 Mass media was then a promising
Page 56 and 57: 54 them - proved to be quite a “n
Page 58 and 59: 56 later be summed up on Médici sl
Page 60 and 61: 58 between the artists prevailed ab
Page 62 and 63: 60 Oiticica’s art and ideas were
Page 64 and 65: 62 The first phase of the Cinema No
Page 66 and 67: 64 imported distinguished directors
Page 68 and 69: 66 artists of the highest caliber m
Page 70 and 71: 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
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80 Ginsberg and other beat writers,
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82 for older poets, but it was exac
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84 like Vicente Celestino, 193 Catu
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86 their poetry and songs. The atom
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88 “macumba.” In both cases the
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90 connection, only a stream of wil
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92 6.4. Poetic Bodies in Action The
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94 artists of the time were ignorin
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96 of the cool youth of the United
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98 which would bring freedom and ju
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100 into myths, Caetano repeatedly
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102 wrong to consider such artists
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104 Americans of the 1950s as a nob
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106 Primary Sources REFERENCE LIST
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108 Chomsky, Noam, and Herman, Edwa
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110 Mendes, Murilo. “Pirâmide,
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112 U.S. Department of State Online
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114 lightning in the mind leaping t
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116 who howled on their knees in th
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118 who were burned alive in their
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120 and who therefore ran through t
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122 Breakthroughs! over the river!
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124 “America” America I've give
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126 Bloor made me cry I once saw Is
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128 “Sunflower Sutra” I walked
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130 So I grabbed up the skeleton th
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132 The warm bodies shine together
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134 “Batmacumba” Batmakumbayêy
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136 “Geleia Geral” Um poeta des
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138 Sem lenço sem documento Nada n
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Tropical ginsberg

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