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Gender and Minor Aesthetics in Northeastern Brazilian Banditry: The Evolution of Cangaceiro Assemblages in Photography, Film, and Oral History
Journal of Latin American Cultural Studies ( IF 0.351 ) Pub Date : 2020-01-02 , DOI: 10.1080/13569325.2020.1762072
Jack A. Draper III

Various accounts and representations of the last generation of active cangaceiros, or Northeastern Brazilian bandits, (ending with the killing of Lampião’s lieutenant, Corisco, in 1940) have emphasised and popularised a unique aesthetic developed by Lampião’s group. This aesthetic was divulged to the public, and documented for subsequent generations, with the help of the photographic and cinematic technology of the time. I analyse this imaginary as a minor aesthetic in the vein of Deleuze and Guattari’s notion of minor literature, focussing on the doubly minor character of the involvement of women in cangaço (banditry) after 1930, and utilising several key photographic/filmic texts, beginning with images of the 1930s and continuing with reimaginings and reframings of those images from the 1950s through the 1980s. Women’s contributions to both the aesthetic and survival of cangaço in its final decade have been denied or not well recognised in contemporary accounts, but their contributions to the imaginary I call the cangaceiro assemblage have received increasing attention since the 1970s, which I demonstrate with important examples of film and television (both documentary and fictional) and related oral history. Beyond their aesthetic creativity, the affective perspectives/experiences of women bandits (cangaceiras) are best understood as outlaw emotions which challenged conventions of gender and sexuality in the backlands.

中文翻译:

巴西东北部盗贼中的性别和次要美学:摄影、电影和口述历史中 Cangaceiro 组合的演变

上一代活跃的 cangaceiros 或巴西东北部土匪(以 1940 年兰皮奥的中尉科里斯科被杀结束)的各种描述和表现强调并推广了兰皮奥团队开发的独特美学。在当时的摄影和电影技术的帮助下,这种审美向公众透露,并为后代记录下来。我将这种想象分析为符合德勒兹和加塔里的次要文学概念的次要美学,重点关注 1930 年后妇女参与 cangaço(强盗)的双重次要特征,并利用几个关键的摄影/电影文本,从1930 年代的图像,并继续对 1950 年代到 1980 年代的图像进行重新想象和重新构图。女性在最后十年对 cangaço 美学和生存的贡献在当代描述中被否认或没有得到很好的承认,但她们对我称之为 cangaceiro 组合的想象的贡献自 1970 年代以来受到了越来越多的关注,我用重要的例子证明了这一点电影和电视(纪录片和虚构)和相关口述历史。除了她们的审美创造力之外,女性强盗 (cangaceiras) 的情感观点/经验最好被理解为挑战偏远地区性别和性行为惯例的非法情感。但自 1970 年代以来,他们对我称之为 cangaceiro 组合的想象的贡献越来越受到关注,我用电影和电视(纪录片和虚构的)和相关口述历史的重要例子来证明这一点。除了她们的审美创造力之外,女性强盗 (cangaceiras) 的情感观点/经验最好被理解为挑战偏远地区性别和性行为惯例的非法情感。但自 1970 年代以来,他们对我称之为 cangaceiro 组合的想象的贡献越来越受到关注,我用电影和电视(纪录片和虚构的)和相关口述历史的重要例子来证明这一点。除了她们的审美创造力之外,女性强盗 (cangaceiras) 的情感观点/经验最好被理解为挑战偏远地区性别和性行为惯例的非法情感。
更新日期:2020-01-02
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