ABSTRACT This article serves as an introduction to a special issue on intimacy and cordiality in contemporary Brazilian cultural production. It traces these purported “national traits” back to their exploration in Gilberto Freyre’s renowned Casa-grande & senzala (1933) and Sérgio Buarque de Holanda’s Raízes do Brasil (1936). While Freyre emphasises the formative influence of the close ties between Afro-Brazilian wet-nurses and landowning families in the colonial era, Holanda’s schematisation of the “cordial man” focuses on the sinister consequences of the Brazilian drive towards intimacy. The articles enclosed are informed by Holanda’s suggestion that the country’s colonial heritage and patriarchal culture has complicated the institution of a clear distinction between the private (familial) and public realms. The recent wave of Brazilian cinema and TV series that focuses on the figure of the maid evocatively foregrounds the continuing primacy of intimate relationships in Brazil, including in films by Anna Muylaert and Kleber Mendonça Filho, which are analysed in this issue. The link between cordiality and cruelty is also explored to provide a context for articles that reflect on the frailties of Brazilian state apparatuses, which have led to social breakdown, and even to the use of coercion or torture.

中文翻译：

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当代巴西文化中的亲切和亲密：介绍

摘要 本文介绍了一个关于当代巴西文化生产中的亲密和亲切的特刊。它将这些所谓的“民族特征”追溯到他们在 Gilberto Freyre 著名的 Casa-grande & senzala (1933) 和 Sérgio Buarque de Holanda 的 Raízes do Brasil (1936) 中的探索。虽然 Freyre 强调了殖民时代非裔巴西奶妈和地主家庭之间密切联系的形成影响，但 Holanda 对“亲切的人”的模式化侧重于巴西追求亲密关系的险恶后果。随函附上的文章来自荷兰的建议，即该国的殖民遗产和父权文化使私人（家庭）和公共领域之间明确区分的制度变得复杂。最近一波关注女仆形象的巴西电影和电视剧令人回味地突出了巴西亲密关系的持续首要地位，包括本期分析的 Anna Muylaert 和 Kleber Mendonça Filho 的电影。还探讨了亲切与残忍之间的联系，为反映巴西国家机器弱点的文章提供了背景，这些弱点导致了社会崩溃，甚至导致使用胁迫或酷刑。