Tropical ginsberg

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22 relationship to the object (for it is argued about, agreed upon, views converge within it), nor can it be separated from the relationship to the speaker himself. 30 If we look at the kind of protest that Ginsberg made, and the kind of protest the tropicalistas made, they are very similar – they talk about the triumph of love over hate, about individual freedom and rights. The relation between Ginsberg’s 1950s context and the tropicalistas 1960s context is very clear, as was said before – Industrial- Military oriented and controlled – and their relation with this context was also very similar – of confrontation and unconformity. It is no wonder then that the works they produced entered into dialogical relation with each other, as these works were a direct result of their coinciding opinions and ideas regarding the context of their lives. Ginsberg did not approve of the cold and belligerent approach towards life that many Americans had, especially the government, neither did the tropicalistas identify with the exaccerbated nationalism and silencing censhorship of the dictatorship. Ginsberg and the tropicalistas sounded the gong of discordance, and managed to thrive through it. 30 Ibid. 122.
CHAPTER III 1945-1964: Nineteen Years That Changed Everything 3.1. On Fabricating an Empire and its Spirit – The United States of America (USA) 23 Men, this stuff we hear about America wanting to stay out of the war, not wanting to fight, is a lot of bullshit. Americans love to fight traditionally. All real Americans love the sting and clash of battle. When you were kids, you all admired the champion marble player; the fastest runner; the big league ball players; the toughest boxers. Americans love a winner and will not tolerate a loser. Americans despise cowards. Americans play to win all the time. I wouldn't give a hoot in hell for a man who lost and laughed. That's why Americans have never lost, not ever will lose a war, for the very thought of losing is hateful to an American. (General George Patton, addressing his troops before leaving from London to France, 1945) 31 An ancient myth of a pueblo of the desert of Los Alamos, 32 in New Mexico, said that a new era would begin when the sun rose from the West. Many centuries passed, the pueblos of Los Alamos were forced into oblivion, and in the hot and dry predawn hours of July 16, 1945, the sun mysteriously rose from the West. The ominous and destructive Moloch that somber atomic cloud produced, when reflected upon the dark lenses of the sun glasses of the highest ranking US Generals, alongside Dr. J. Robert Oppenheimer, a somewhat Paracelsus of modern ages, glimpsed a murky future up ahead. The completion of operation “Trinity” from “Project Manhanttan” at Los Alamos meant much more than the dusk of World War II, it meant the dawn of a new era, of a new world order which was certainly going to be the American 31 Province, Charles M. “General Patton’s Address to the Troops.” 23 June 2009. http://www.pattonhq.com/speech.html. 32 Doucet, Friedrich W. O Livro de Ouro das Ciências Ocultas. Trans. Maria M. Wurth Teixeira. Rio de Janeiro: Ediouro, 2002. 342
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 22 and 23: 20 by contemporary international tr
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
Page 72 and 73: 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
Page 110 and 111:
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
Page 136 and 137:
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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