Is there a theory of peripheral postmodernism
Bibliographic Data
| ID | 2742433 |
|---|---|
| Authors | Josnei Di Carlo (0000-0002-9319-4750, Universidade Federal de Santa Catarina, corresponding author) |
| Year | 2020 |
| Pages | 18-33 |
| Publication date | 2020-08-12 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Revista do Instituto de Estudos Brasileiros (JOURNAL) |
| Journal identifiers | ISSN: 0020-3874 • E-ISSN: 2316-901X |
| Publisher | Universidade de São Paulo. Agência de Bibliotecas e Coleções Digitais (PUBLISHER) |
| DOI | 10.11606/issn.2316-901x.v1i76p18-33 |
| OpenAlex | W3081840709 |
| Language | EN |
After Caetano Veloso and Gilberto Gil performed at the 1967 MPB Festival, there was a change in Brazilian culture. From 1966 to 1968, Mário Pedrosa outlined in his Correio da Manhã columns what he understood by postmodernism by analyzing contemporary visual arts. Despite the contemporaneity between Tropicália and Pedrosa, his analysis is not used to understand the intervention of the two musicians in the Brazilian culture of the 1960s. Thus, we will reconstruct Pedrosa's concept to investigate Tropicália as a manifestation of postmodernism in the periphery
Aesthetics · Art · Art history · Literature · Postmodernism · Sociology · The arts · Visual arts · Brazilian cultural history and politics · History, Culture, and Society · Sociology and Education in Brazil
| Citation velocity | historical |
|---|---|
| Highly cited | No |