Mário de Andrade and Brecheret: The Roots of Modernism

Mário de Andrade (1893-1945), the renowned polymath in Brazilian literature and culture, has an immensely rich trajectory as a journalist. Comprising articles, chronicles, essays, poems, short stories and novel excerpts, his journalistic production revolves around São Paulo and Rio de Janeiro, in the wider press and in specialized periodicals; it does not spurn tabloids and branches out into occasional contributions to newspapers of other Brazilian cities. His journalistic production may be found in every journal of our Modernism; it takes up sections and columns, and also flourishes in newspaper series. His death on February 25, 1945, however, brought all this to an end. In the present essay – part of a longer one about the chronicles related to the creationof Paulicea Desvairada [Hallucinated City], in 1920-1921, I intend to focus on the strategies designed by those who aimed at celebrating the centenary of the Brazilian Independence, in 1922, endowing São Paulo Capital with a landmark of Modernism, the Monumento às Bandeiras, by sculptor Victor Brecheret.This goal is fostered by Mário de Andrade’s journalistic texts, and they have been preserved in the archive as well asin the library that he organized.Mário de Andrade (1893-1945), the renowned polymath in Brazilian literature and culture, has an immensely rich trajectory as a journalist. Comprising articles, chronicles, essays, poems, short stories and novel excerpts, his journalistic production revolves around São Paulo and Rio de Janeiro, in the wider press and in specialized periodicals; it does not spurn tabloids and branches out into occasional contributions to newspapers of other Brazilian cities. His journalistic production may be found in every journal of our Modernism; it takes up sections and columns, and also flourishes in newspaper series. His death on February 25, 1945, however, brought all this to an end. In the present essay – part of a longer one about the chronicles related to the creationof Paulicea Desvairada [Hallucinated City], in 1920-1921, I intend to focus on the strategies designed by those who aimed at celebrating the centenary of the Brazilian Independence, in 1922, endowing São Paulo Capital with a landmark of Modernism, the Monumento às Bandeiras, by sculptor Victor Brecheret.This goal is fostered by Mário de Andrade’s journalistic texts, and they have been preserved in the archive as well asin the library that he organized

A literatura como direito

Escrito no feitio conciso de uma crônica, o texto destaca o caráter de “conversação” que preside os ensaios em Vários escritos de Antonio Candido. O objetivo é mostrar que essa coletânea ilumina descobertas e cogitações relativas a autores, obras, história, criação literária, conceitos, sempre enfeixando relações entre homem e sociedade.Written as a kind of chronicle, this text emphasizes aspects related to conversations in the essays of Antonio Candido’s Vários escritos. Its aim is also to show that this diversified assemblage of texts illuminates discoveries and thoughts related to authors, works, literary creation, concepts, always building relations between man and society

Mário de Andrade cronista de São Paulo nos primórdios do modernismo

O artigo trabalha, no jornalismo de Mário de Andrade, textos de 1920 e 1921, vinculados aos primórdios do modernismo. Palavras-chave: Jornalismo de Mário de Andrade, Modernismo brasileiro, poesia modernista. The article studies in Mario de Andrade's journalism, his contribution concerning to the beginning of Brazilian Modernism in 1920-1921.

Mário de Andrade e Brecheret nos primórdios do modernismo

This article deals with the journalistic writings by Mário de Andrade when he championed the modernism from São Paulo. In 1920 and 1921 he fought that the work by sculptor Victor Brecheret, Monumento às Bandeiras [Monument to the Pioneers], should be placed in a public square, as a way to assert the art renewal by the occasion of the Independence Centennial in 1922. It focusesmainly on the writings by the author of Pauliceia Desvairada [Delirious São Paulo] for the Papel e Tinta [Paper and Ink] magazine from São Paulo, and for the Illustração Brasileira [Brazilian Illustration] journal from Rio de Janeiro.O artigo aborda o jornalismo de Mário de Andrade na propaganda do modernismo paulistano, o qual, em 1920-21, luta para conseguir que a obra do escultor Victor Brecheret, Monumento às Bandeiras, fosse concretizada em praça pública, no intuito de afi rmar a renovação nas artes, no Centenário da Independência, em 1922. Focaliza, especialmente, a presença do autor de Pauliceia Desvairada na revista Papel e Tinta, de São Paulo, e na IlustraçãoBrazileira, periódico do Rio de Janeiro

O turista aprendiz na Amazônia: a invenção no texto e na imagem

The object of this study is Brazilian writer Mário de Andrade (1893-1945) in his experience as a modern photographer, during his stay in the Northern region of Brazil, specially in the Amazon region, during the first of his two long Apprentice Tourist trips throughout Brazil in 1927. The author analyses the creative process by which the Codaque's images constitute the prints and negatives image diary that overlaps with the diary of legends and of text where the traveller's impressions and the fictionist's invention are developed. The article highlights certain links between the photography produced in this trip and Andrade's readings, poetry and fiction.O objeto deste estudo é o escritor Mário de Andrade (1893-1945) em sua experiência de fotógrafo moderno, durante sua permanência no norte, especialmente na Amazônia, em 1927, na primeira das duas grandes viagens do Turista Aprendiz pelo Brasil. Analisa o processo criativo no qual as imagens da Codaque constituem o diário imagético dos negativos e positivos que se justapõe ao diário das legendas e ao do texto onde se desenvolvem as impressões do viajante e a invenção do ficcionista. Aponta também certos vínculos da fotografia produzida nessa viagem com as leituras, a poesia e a ficção andradiana

Preludes to Modernism in Brazil

This study focuses on certain significant events in the years immediately preceding the Modern Art Week, the landmark in Brazilian Modernism, in 1922.These events open up what may be described as the first Modernist period, from 1917 to 1929, which could even be extended up to the Exhibition of 1931.This study focuses on certain significant events in the years immediately preceding the Modern Art Week, the landmark in Brazilian Modernism, in 1922.These events open up what may be described as the first Modernist period, from 1917 to 1929, which could even be extended up to the Exhibition of 1931