The artist among ruins: connecting catastrophes in Brazilian and Cuban cinema, painting, sculpture and literature

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dc.contributor.advisorArroyo-Martínez, Jossiannaen
dc.contributor.advisorLitvak, Lily, 1938-en
dc.contributor.committeeMemberAfolabi, Niyien
dc.contributor.committeeMemberDavis, Dianeen
dc.contributor.committeeMemberFierro, Enriqueen
dc.contributor.committeeMemberSalgado, Césaren
dc.creatorLopes De Barros Oliveira, Rodrigoen
dc.date.accessioned2016-02-26T16:45:29Z
dc.date.accessioned2018-01-22T22:29:36Z
dc.date.available2016-02-26T16:45:29Z
dc.date.available2018-01-22T22:29:36Z
dc.date.issued2013-12en
dc.date.submittedDecember 2013
dc.date.updated2016-02-26T16:45:29Z
dc.description.abstractThis work is an attempt to create a constellation. In a constellation, some stars are greatly apart from each other. However, they appear on the same plane to our eyes. This method is derived from Walter Benjamin. Here I have, as my objet petit a, the pictorial, sculptural, cinematic and literary production of Brazil and Cuba from 1959 and beyond. As a barrier for creating meaning of such a vast content, I chose the theme of ruins, expanding when possible to its relatives: decay, catastrophe, debris, death, war, the lost paradise, the garden, intellectual thinking, utopia, dystopia, dreamworlds, rot, hope, human destruction, homelessness, and more. I work with figures of those two geographic regions, in which I think ruins—being inorganic, organic or abstract ones—have a major role in the work of: Tomás Gutiérrez Alea, Glauber Rocha, Orlando Jiménez Leal, Sabá Cabrera, Nicolás Guillén Landrián, Rogério Sganzerla, Néstor Almendros, Antonio José Ponte, Ramón Alejandro, and Francisco Brennand. This effort led me to reevaluate the classical concept of ruins in Western thought, which I think was relatively in force until World War I and which underwent a radical transformation after the advent of twentieth-century concentration camps, the domination by humans of atomic power, and the establishment of extremely high speeds for travels. I also propose that modern ruins acquire their full significance especially in the Third World. For, to the contrary of the central nations of capitalism, the Third World cannot be turned into ruins. It has already been born as such a thing. The aforementioned events just made this state of existence clearer.en
dc.description.departmentSpanish and Portugueseen
dc.format.mimetypeapplication/pdfen
dc.identifierdoi:10.15781/T28T2Ken
dc.identifier.urihttp://hdl.handle.net/2152/33413en
dc.subjectNéstor Almendrosen
dc.subjectRamón Alejandroen
dc.subjectFrancisco Brennanden
dc.subjectBrazilian sculptureen
dc.subjectCuban paintingen
dc.subjectGlauber Rochaen
dc.subjectNicolás Guillén Landriánen
dc.subjectAntonio José Ponteen
dc.subjectTomás Gutiérrez Aleaen
dc.subjectGlauber Rochaen
dc.subjectOrlando Jiménez Lealen
dc.subjectSabá Cabreraen
dc.subjectRogério Sganzerlaen
dc.subjectRuinsen
dc.subjectThird worlden
dc.subjectMarvelousen
dc.subjectPsychosis of the marvelousen
dc.subjectIsland of Brazilen
dc.subjectCaribbeanen
dc.subjectPMen
dc.subjectMemorias del subdesarrolloen
dc.subjectTerra em transeen
dc.subjectCoffea Arábigaen
dc.subjectMauvaise conduiteen
dc.subjectNadie escuchabaen
dc.subjectLa fiesta vigiladaen
dc.subjectCuban Arten
dc.subjectBrazilian Arten
dc.subjectCuban Literatureen
dc.subjectFernando Ortizen
dc.subjectWifredo Lamen
dc.subjectClarice Lispectoren
dc.subjectAlejo Carpentieren
dc.subjectAlain Resnaisen
dc.subjectMissile crisisen
dc.subject1968en
dc.titleThe artist among ruins: connecting catastrophes in Brazilian and Cuban cinema, painting, sculpture and literatureen
dc.typeThesisen

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