Resisting Cultural Cannibalism: Oppositional Narratives in Michelle Cliff's "No Telephone to Heaven"

1992 ◽  
Vol 25 (1) ◽  
pp. 23 ◽  
Author(s):  
Fiona R. Barnes
Keyword(s):  
Cultural Cannibalism ◽  
No Telephone To Heaven

scholarly journals Anthropophagy in São Paulo's Cold War

ARTMargins ◽  
2013 ◽  
Vol 2 (1) ◽  
pp. 3-36 ◽  
Author(s):  
Caroline A. Jones
Keyword(s):  
Cold War ◽  
Art History ◽  
New World ◽  
Sao Paulo ◽  
São Paulo ◽  
World Picture ◽  
International Style ◽  
Local Difference ◽  
Cultural Cannibalism

The first biennial founded outside Venice opened in São Paulo Brazil in 1951, providing a fulcrum between “dependency” and “developmentalism” (to use economic terms). In terms of art history, it presents a useful anomaly in which an international style (“concrete abstraction,” a European import) was used simultaneously to eradicate local difference and to declare a cosmopolitan, up-to-date Brasilidade (Brazilianness). More crucially, I argue that the São Paulo Bienal was the precondition for the newly rigorous conceptualism that followed, as Brazilian artists in the late ′60s rejected “Concretismo” to craft a new world picture, radically transforming margin and center through the profoundly theoretical practice of antropofagia — cultural cannibalism.

scholarly journals THE MUSEUM BRAZIL: CULTURAL CANNIBALISM AS AN ANSWER TO THE PREDICAMENTS OF A SHAKESPEAREAN CULTURE

2020 ◽  
Vol 22 (41) ◽  
pp. 15-26
Author(s):  
João Cezar de Castro Rocha
Keyword(s):  
National Identity ◽  
The Other ◽  
Self Perception ◽  
The Gaze ◽  
Cultural Cannibalism

Abstract: Shakespearean cultures are the ones whose self-definition heavily relies on the determination of a foreigner’s gaze, their self-perception originates in the gaze of an Other. Thus, in such circumstance, the centrality of the other demands the prominence of the mimetic impulse in the shaping of national identity, which cannot but evoke a paradoxical constellation, based upon a constant oscillation between the own and the foreigner.

"A Man Who Wants to Be a Woman": Queerness as/and Healing Practices in Michelle Cliff's No Telephone to Heaven

Callaloo ◽  
2000 ◽  
Vol 23 (1) ◽  
pp. 352-365 ◽  
Author(s):  
Nada Elia
Keyword(s):  
No Telephone To Heaven

Cultural Cannibalism

2017 ◽  
pp. 222-234
Author(s):  
Daniel Serravalle de Sá
Keyword(s):  
Cultural Cannibalism

The Dream (Film)

2021 ◽  
pp. 45-64
Author(s):  
Martin Eisner
Keyword(s):  
Luciano Berio ◽  
Musical Work ◽  
Vita Nuova ◽  
Cultural Cannibalism ◽  
Crucial Part ◽  
Guido Cavalcanti

This chapter begins with a scene from the 2001 film Hannibal, where the recitation of Dante’s first poem from the Vita nuova plays a crucial part in elaborating the main character’s cannibalism, and a passage from Luciano Berio and Edoardo Sanguineri’s polyphonic setting of Dante’s dream in their musical work Laborintus II. Arguing that these popular adaptations bring into focus Dante’s distinctive mixing of horror and humor, this chapter uses the cannibalist theme to understand Dante’s relationship with his first friend Guido Cavalcanti. Drawing on the idea of cultural cannibalism developed in the Brazilian Antropófago movement, which was itself deeply informed by Dante, the chapter explores the significance of Dante’s relationship with Cavalcanti by exploring the different ways scribes and editors have presented their poems on the page. This inquiry also addresses larger transformations of Dante’s book such as the tendency to reduce it to its poetic components alone following the model of Petrarch.

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