De acordo com o artigo de Jason Farago, o “Manifesto Antropofágico”, escrito por Oswald de Andrade, foi influenciado
Leia o trecho do artigo de Jason Farago, publicado pelo jornal
The New York Times, para responder às questões
She led Latin American Art in a bold new direction
In 1928, Tarsila do Amaral painted Abaporu, a landmark
work of Brazilian Modernism, in which a nude figure,
half-human and half-animal, looks down at his massive,
swollen foot, several times the size of his head. Abaporu
inspired Tarsila’s husband at the time, the poet Oswald de
Andrade, to write his celebrated “Cannibal Manifesto,” which
flayed Brazil’s belletrist writers and called for an embrace
of local influences – in fact, for a devouring of them. The
European stereotype of native Brazilians as cannibals would
be reformatted as a cultural virtue. More than a social and
literary reform movement, cannibalism would form the basis
for a new Brazilian nationalism, in which, as de Andrade
wrote, “we made Christ to be born in Bahia.”
The unconventional nudes of A Negra, a painting
produced in 1923, and Abaporu unite in Tarsila’s final great
painting, Antropofagia, a marriage of two figures that is also
a marriage of Old World and New. The couple sit entangled,
her breast drooping over his knee, their giant feet crossed one
over the other, while, behind them, a banana leaf grows as
large as a cactus. The sun, high above the primordial couple,
is a wedge of lemon.
(Jason Farago. www.nytimes.com, 15.02.2018. Adaptado.)
Leia o trecho do artigo de Jason Farago, publicado pelo jornal The New York Times, para responder às questões
She led Latin American Art in a bold new direction
In 1928, Tarsila do Amaral painted Abaporu, a landmark work of Brazilian Modernism, in which a nude figure, half-human and half-animal, looks down at his massive, swollen foot, several times the size of his head. Abaporu inspired Tarsila’s husband at the time, the poet Oswald de Andrade, to write his celebrated “Cannibal Manifesto,” which flayed Brazil’s belletrist writers and called for an embrace of local influences – in fact, for a devouring of them. The European stereotype of native Brazilians as cannibals would be reformatted as a cultural virtue. More than a social and literary reform movement, cannibalism would form the basis for a new Brazilian nationalism, in which, as de Andrade wrote, “we made Christ to be born in Bahia.”
The unconventional nudes of A Negra, a painting produced in 1923, and Abaporu unite in Tarsila’s final great painting, Antropofagia, a marriage of two figures that is also a marriage of Old World and New. The couple sit entangled, her breast drooping over his knee, their giant feet crossed one over the other, while, behind them, a banana leaf grows as large as a cactus. The sun, high above the primordial couple, is a wedge of lemon.
(Jason Farago. www.nytimes.com, 15.02.2018. Adaptado.)
Gabarito comentado
Vejamos todas as alternativas:
B) A obra não mostra paisagem exuberante. Na linha 9, ele menciona folha de bananeira e cacto (a banana leaf grows as large as a cactos).
C) O Manifesto Antropofágico não foi influenciado pelo quadro Antropofagia. O último parágrafo diz: Os nus não convencionais de A Negra, uma pintura produzida em 1923, e Abaporu se unem na grande pintura final de Tarsila, Antropofagia, um casamento de duas figuras que também é um casamento do Velho Mundo e do Novo. (The unconventional nudes of A Negra, a painting produced in 1923, and Abaporu unite in Tarsila's final great painting, Antropofagia, a marriage of two figures that is also a marriage of Old World and New.)
E) O texto afirma que, mais do que um movimento de reforma social e literária, o canibalismo formaria a base de um novo nacionalismo brasileiro, (More than a social and literary reform movement, cannibalism would form the basis for a new Brazilian nationalism.) Não se fala de sincretismo religioso (religious syncretism) ou de primitivismo nas artes plásticas.
Gabarito do Professor: A
