Tropical ginsberg

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6 ABSTRACT Through a dialogical relation between poems and song lyrics, and the socio-political contexts which surrounded these texts, this research discusses the resonance that North American poet, Allen Ginsberg, had over the Brazilian musical movement, the Tropicália. The corpora are the poems “Howl” (1956), “America” (1956), “Supermarket in California” (1955), “Sunflower Sutra” (1955), “Song” (1954), and “Wild Orphan” (1952), written by Allen Ginsberg, and the songs “Batmacumba” (1968), composed by Caetano Veloso, and Gilberto Gil, “Baby” (1968), composed by Caetano Veloso, “Geléia Geral” (1968), composed by Gilberto Gil and Torquato Neto, “Alegria, Alegria” (1967), composed by Caetano Veloso, and “Domingo no Parque” (1967), composed by Gilberto Gil. The main theoretical and critical parameters of this research include: Mikhail Bakhtin and his reflections on intertextuality; James J. Farrell, who believes that the American counterculture began with the Beats; Claudio Willer, who stresses the importance of Allen Ginsberg to the Beat movement, as well as to the birth of the American counterculture; Christopher Dunn, who emphasizes the historical, social, and political relevance of the Tropicália; and Celso Favaretto, who discusses in depth the complexity of most of the Tropicália songs. Based on such parameters, this research suggests that the life and work of Allen Ginsberg had great resonance over the creation of the Tropicália. Keywords: Beats, American counterculture, Tropicália, Brazilian counterculture. Number of pages: 144 Number of words: 39, 614
RESUMO Através de uma relação dialógica entre poesia e letras de música e o contexto sócio-político que circundava tais textos, este estudo discute a ressonância que o poeta Norte Americano, Allen Ginsberg, teve sobre o movimento musical Brasileiro, a Tropicália. A corpora são os poemas “Howl” (1956), “America” (1956), “Supermarket in California” (1955), “Sunflower Sutra” (1955), “Song” (1954), e “Wild Orphan” (1952), escritos por Allen Ginsberg, e as músicas “Batmacumba” (1968), composta por Caetano Veloso, e Gilberto Gil, “Baby” (1968), composta por Caetano Veloso, “Geléia Geral” (1968), composta por Gilberto Gil e Torquato Neto, “Alegria, Alegria” (1967), composta por Caetano Veloso, e “Domingo no Parque” (1967), composta por Gilberto Gil. Os principais parâmetros teóricos e críticos desta pesquisa incluem: Mikhail Bakhtin e suas reflexões sobre intertextualidade; James J. Farrell, que acredita que a contracultura Americana começou com os Beats; também em Claudio Willer, que salienta a importância de Allen Ginsberg no movimento Beat e no nascimento da contracultura Americana; Christopher Dunn, que enfatiza a relevância histórica, social e política da Tropicália; e Celso Favaretto, que discute em profundidade a complexidade da grande maioria das músicas da Tropicália. Baseandose em tais parâmetros identificados, esta dissertação sugere que a vida e obra de Allen Ginsberg tiveram grande ressonância sobre a criação da Tropicália. Palavras-chave: Beats, Contracultura Norte Americana, Tropicália, Contracultura Brasileira Número de páginas: 157 Número de palavras: 39, 614 7
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 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 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
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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
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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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