268:
250:
25:
303:, which was created in the interest of propagating a Brazilian poetry for export. The "Manifesto" has often been interpreted as an essay in which the main argument proposes that Brazil's history of "cannibalizing" other cultures is its greatest strength, while playing on the
856:
395:
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).
848:
702:
227:
547:
346:
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.
627:
598:
764:
89:
713:
522:
912:
61:
315:
as an alleged tribal rite. Cannibalism becomes a way for Brazil to assert itself against
European post-colonial cultural domination.
42:
68:
676:
319:
892:
652:
75:
382:
373:
movement. Veloso has stated, "the idea of cultural cannibalism fit us, the tropicalists, like a glove. We were ‘eating’
57:
108:
840:
412:
757:
786:
46:
241:, modernist artist and wife of Oswald de Andrade. The essay was translated to English in 1991 by Leslie Bary;
887:
496:(38). Translated by Leslie Bary. Pittsburgh: Dept. of Modern Languages, Carnegie-Mellon University: 38–47.
82:
750:
737:
907:
225:, a key figure in the cultural movement of Brazilian Modernism and contributor to the publication
343:
326:, who practiced certain forms of ritual cannibalism (as detailed in the 16th century writings of
35:
902:
897:
864:
824:
794:
436:
299:
8:
339:
285:
190:
157:
808:
621:
497:
408:
774:
658:
648:
592:
358:
327:
312:
238:
222:
147:
129:
362:
612:
Jauregui, Carlos, A. (2012). McKee Irwin & Szurmuk, Robert & Mónica (ed.).
267:
644:
Brutality garden : Tropicália and the emergence of a
Brazilian counterculture
128:
Original 1928 Publication in
Revista de Antropofagia, featuring a line drawing of
523:"Aventuras na História · Grupo dos Cinco: os precursores do Modernismo no Brasil"
460:
400:
355:
260:
255:
335:
832:
366:
276:
572:
881:
742:
662:
392:
318:
One of the
Manifesto's iconic lines, written in English in the original, is "
441:
403:
created a mural in honour of what would have been
Andrade's 100th birthday.
370:
388:
378:
642:
374:
331:
323:
308:
272:
732:
501:
249:
219:
677:"Editorial - Underground collection: works of art in São Paulo subway"
304:
24:
485:
290:
233:
134:
857:
Um
Aspecto Antropofágico da Cultura Brasileira: O Homem Cordial
342:. On the other hand, some critics argue that Antropofagia as a
259:, a modernist art collective that upheld the principles of the
212:
177:
354:
In the 1960s, introduced to the work of Oswald de
Andrade by
297:
is more directly political than Oswald's previous manifesto,
616:. Gainesville: University Press of Florida. pp. 22–28.
215:
461:"Tarsila do Amaral: Inventing Modern Art in Brazil | MoMA"
738:
Article in
English about Antropofagia by Carlos Jauregui
577:
ODIP: The Online
Dictionary of Intercultural Philosophy
369:
saw the Manifesto as a major artistic influence on the
338:), and a metaphorical instance of cannibalism: it eats
712:(in Brazilian Portuguese). p. 31. Archived from
548:"Albert Eckhout, Series of eight figures (article)"
322:." The line is simultaneously a celebration of the
49:. Unsourced material may be challenged and removed.
283:Written in poetic prose in the modernist style of
879:
196:
415:. It was inspired by three of Andrade's works:
772:
758:
614:Dictionary of Latin American Cultural Studies
626:: CS1 maint: multiple names: authors list (
733:Text in English, translation by Leslie Bary
683:(in Brazilian Portuguese). January 24, 2020
597:: CS1 maint: numeric names: authors list (
417:O Perfeito Cozinheiro das Almas deste Mundo
405:Momento Antropofágico com Oswald de Andrade
765:
751:
109:Learn how and when to remove this message
611:
266:
248:
520:
483:
880:
669:
521:Gearini, Victória (26 February 2020).
320:Tupi or not Tupi, that is the question
746:
695:
203:), also variously translated as the
47:adding citations to reliable sources
18:
573:"Oswald de Andrade / Anthropophagy"
13:
14:
924:
913:20th-century Brazilian literature
726:
399:In 1990, Brazilian visual artist
384:Tropicalia: ou Panis et Circensis
640:
477:
275:woman with human body parts" by
211:, was published in 1928 by the
23:
849:A Crise da Filosofia Messiânica
579:. Thorsten Botz-Bornstein (ed.)
34:needs additional citations for
634:
605:
564:
540:
514:
490:Latin American Literary Review
453:
16:Manifesto by Oswald de Andrade
1:
571:Garcia, Luis Fellipe (2020).
447:
349:
893:Cannibalism in South America
7:
841:A Arcádia e a Inconfidência
484:Andrade, Oswald de (1991).
430:
10:
929:
244:
781:
529:(in Brazilian Portuguese)
173:
163:
153:
143:
126:
465:The Museum of Modern Art
187:Anthropophagic Manifesto
486:"Cannibalist Manifesto"
421:Manifesto Antropofágico
228:Revista de Antropofagia
58:"Manifesto Antropófago"
570:
280:
264:
231:. It was inspired by "
197:
122:Manifesto Antropófago
817:Manifesto Antropófago
527:Aventuras na História
407:was installed in the
381:." On the 1968 album
361:, both visual artist
295:Manifesto Antropófago
270:
252:
209:Cannibalist Manifesto
198:Manifesto Antropófago
888:Brazilian literature
865:A Marcha das Utopias
825:Serafim Ponte Grande
795:Manifesto Pau-Brasil
437:Literature of Brazil
300:Manifesto Pau-Brasil
43:improve this article
647:. Chapel Hill, NC.
641:Dunn, Christopher.
286:Une Saison en Enfer
123:
809:Estrela de absinto
281:
265:
205:Cannibal Manifesto
121:
875:
874:
775:Oswald de Andrade
654:978-1-4696-1571-4
413:Republica station
359:Augusto de Campos
239:Tarsila do Amaral
237:," a painting by
223:Oswald de Andrade
183:
182:
174:Publication place
148:Oswald de Andrade
130:Tarsila do Amaral
119:
118:
111:
93:
920:
767:
760:
753:
744:
743:
721:
720:
719:on 17 June 2019.
718:
707:
699:
693:
692:
690:
688:
673:
667:
666:
638:
632:
631:
625:
617:
609:
603:
602:
596:
588:
586:
584:
568:
562:
561:
559:
558:
544:
538:
537:
535:
534:
518:
512:
511:
509:
508:
481:
475:
474:
472:
471:
457:
200:
165:Publication date
124:
120:
114:
107:
103:
100:
94:
92:
51:
27:
19:
928:
927:
923:
922:
921:
919:
918:
917:
908:Satirical works
878:
877:
876:
871:
777:
771:
729:
724:
716:
705:
703:"Livro Digital"
701:
700:
696:
686:
684:
675:
674:
670:
655:
639:
635:
619:
618:
610:
606:
590:
589:
582:
580:
569:
565:
556:
554:
546:
545:
541:
532:
530:
519:
515:
506:
504:
482:
478:
469:
467:
459:
458:
454:
450:
433:
425:O Homem do Povo
409:São Paulo Metro
401:Antonio Peticov
352:
261:Modern Art Week
256:Grupo dos Cinco
247:
166:
139:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
926:
916:
915:
910:
905:
900:
895:
890:
873:
872:
870:
869:
861:
853:
845:
837:
833:Meu Testamento
829:
821:
813:
805:
799:
791:
782:
779:
778:
770:
769:
762:
755:
747:
741:
740:
735:
728:
727:External links
725:
723:
722:
694:
668:
653:
633:
604:
563:
539:
513:
476:
451:
449:
446:
445:
444:
439:
432:
429:
367:Caetano Veloso
363:Hélio Oiticica
351:
348:
277:Albert Eckhout
246:
243:
181:
180:
175:
171:
170:
167:
164:
161:
160:
155:
151:
150:
145:
141:
140:
127:
117:
116:
31:
29:
22:
15:
9:
6:
4:
3:
2:
925:
914:
911:
909:
906:
904:
903:Brazilian art
901:
899:
896:
894:
891:
889:
886:
885:
883:
867:
866:
862:
859:
858:
854:
851:
850:
846:
843:
842:
838:
835:
834:
830:
827:
826:
822:
819:
818:
814:
811:
810:
806:
804:(poems, 1925)
803:
800:
797:
796:
792:
789:
788:
784:
783:
780:
776:
768:
763:
761:
756:
754:
749:
748:
745:
739:
736:
734:
731:
730:
715:
711:
710:Arte no Metrô
704:
698:
682:
678:
672:
664:
660:
656:
650:
646:
645:
637:
629:
623:
615:
608:
600:
594:
578:
574:
567:
553:
549:
543:
528:
524:
517:
503:
499:
495:
491:
487:
480:
466:
462:
456:
452:
443:
440:
438:
435:
434:
428:
426:
422:
418:
414:
410:
406:
402:
397:
394:
393:Torquato Neto
390:
386:
385:
380:
376:
372:
368:
365:and musician
364:
360:
357:
356:concrete poet
347:
345:
341:
337:
333:
329:
325:
321:
316:
314:
310:
306:
302:
301:
296:
292:
288:
287:
278:
274:
269:
262:
258:
257:
251:
242:
240:
236:
235:
230:
229:
224:
221:
217:
214:
210:
206:
202:
201:
199:
192:
188:
179:
176:
172:
168:
162:
159:
156:
152:
149:
146:
142:
137:
136:
131:
125:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
863:
855:
847:
839:
831:
823:
816:
815:
807:
801:
793:
785:
714:the original
709:
697:
685:. Retrieved
680:
671:
643:
636:
613:
607:
581:. Retrieved
576:
566:
555:. Retrieved
552:Khan Academy
551:
542:
531:. Retrieved
526:
516:
505:. Retrieved
493:
489:
479:
468:. Retrieved
464:
455:
424:
420:
416:
404:
398:
389:Gilberto Gil
383:
379:Jimi Hendrix
353:
336:Jean de Léry
328:André Thévet
317:
311:interest in
298:
294:
284:
282:
254:
232:
226:
208:
204:
195:
194:
186:
184:
133:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
375:the Beatles
340:Shakespeare
332:Hans Staden
313:cannibalism
309:primitivist
898:Tropicália
882:Categories
802:Pau-brasil
557:2020-08-18
533:2020-08-18
507:2015-07-22
470:2020-08-18
448:References
442:Tropicália
371:Tropicália
350:Influences
305:modernists
220:polemicist
191:Portuguese
158:Portuguese
69:newspapers
773:Works by
687:18 August
663:862077082
622:cite book
213:Brazilian
99:June 2016
852:, (1950)
593:cite web
502:20119601
431:See also
344:movement
263:of 1922.
154:Language
681:SP-Arte
583:13 June
291:Rimbaud
245:Content
234:Abaporu
207:or the
135:Abaporu
83:scholar
868:(1953)
860:(1950)
844:(1945)
836:(1944)
828:(1933)
820:(1928)
812:(1927)
798:(1924)
790:(1922)
661:
651:
500:
423:, and
334:, and
293:, the
273:Tapuya
178:Brazil
144:Author
85:
78:
71:
64:
56:
717:(PDF)
706:(PDF)
498:JSTOR
90:JSTOR
76:books
787:Alma
689:2021
659:OCLC
649:ISBN
628:link
599:link
585:2020
391:and
377:and
324:Tupi
253:The
218:and
216:poet
185:The
169:1928
132:'s "
62:news
411:'s
289:by
271:"A
45:by
884::
708:.
679:.
657:.
624:}}
620:{{
595:}}
591:{{
575:.
550:.
525:.
494:19
492:.
488:.
463:.
427:.
419:,
387:,
330:,
307:'
193::
766:e
759:t
752:v
691:.
665:.
630:)
601:)
587:.
560:.
536:.
510:.
473:.
279:.
189:(
138:"
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.