著者

居村 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.85, 2017 (Released:2019-01-02)

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This paper clarified the significance of ‘Philosophy of Anthropophagy’ by a Brazilian artist Hélio Oiticica (1937-1980) in Tropicália, his work of art in 1967. He was one of the most representative artists of Brazil. His works were characterized by spatial involvement with a viewer or a viewer’s active participation. Tropicália might be one of the most important things in his works and was considered to be a ‘cannibalistic’ work affected by Oswald de Andrade, a Brazilian critic and poet. Oiticica accepted this opinion too. On Tropicália, however, Oiticica described that he was devoured by this work, while Andrade as an ideal ‘cannibal’ attempted to devour and absorb the western culture. This study started with this problem. At first, I overviewed Oiticica’s career and Tropicália and showed a problem with this work. Oiticica wrote his experience with a television set in Tropicália. This experience was problematic for ‘Philosophy of Anthropophagy’. Second, I analysed the experience from the point of view of “invasiveness”. Finally, I clarified the significance of the result caused by that invasiveness in terms of “Aesthetics of the devoured”.

著者

居村 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.61-72, 2019 (Released:2021-05-08)

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This paper characterizes a Brazilian critic Oswald de Andrade’s ‘Brazilianness (brasilidade)’ by analyzing his art critique. It is accepted that ‘philosophy of anthropophagy’ proposed by Andrade’s “Anthropophagy Manifest (Manifesto Antropófago, 1928)” defines the 20th century Brazilian culture. The idea of the philosophy of anthropophagy as a cultural constructional model ignores, however, socio-political visions in Andrade’s works. I clarify the significance of art for Andrade and connect his writings of art in the modernist era and socio-political writings in his later years. Andrade praises art based on Brazilian life, nature, and history as representative art of Brazil, national art. Further, according to his review concerning Anita Malfatti’s solo exhibition in 1917, Andrade criticizes art from a western point of view. Finally, the paper clarifies representations of Brazilianness by analyzing Andrade’s critiques about two painters, Tarsila do Amaral and Lasar Segall. In conclusion, I show that Brazilianness for Andrade is an expression both based on Brazilian life, nature, and history and executed well in western criteria. Andrade’s Brazilianness is also problematic in terms of internalizing of western exoticism. At the same time, however, it is possible for the Brazilianness to subvert Eurocentrism.

著者

居村 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.67, 2018 (Released:2020-03-23)