This article analyzes a series of photographs taken by the Brazilian artist Carlos Vergara between 1972 and 1975 that picture the Rio de Janiero-based carnival bloco Cacique de Ramos, whose characteristic black-and-white costumes fantastically approximate indigenous Amerindian attire. Taken at the height of the military dictatorship, when the pressure to conform to a singular nationalist identity was extreme, the photographs probe the potentialities and desire for group identification within a structure of horizontal rather than hierarchical affiliation. The essay argues that the photographs offer of speculative paradigm of intersubjective identification: a mapping of difference from deep within what the Brazilian anthropologist Eduardo Viveiros de Castro called a “passion of the same.” This paradigm is contiguous, yet distinct from the contemporary concept of “the multitude,” and suggests how an opposition of self and other might be transformed into a transversal operation of different-equal-same.

中文翻译：

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“同情”：Cacique de Ramos和Multidão

本文分析了巴西艺术家卡洛斯·维加拉（Carlos Vergara）在1972年至1975年之间拍摄的一系列照片，这些照片描绘了基于里约热内卢的狂欢节blo Cacique de Ramos，其典型的黑白服装梦幻般地接近了美洲印第安人的服装。在军事独裁统治的顶峰时期，当遵循单一民族主义身份的压力极大时，这些照片探讨了在横向联系而不是等级联系的结构内进行团体识别的潜力和愿望。文章认为，这些照片提供了主体间身份认同的推测范式：巴西人类学家爱德华多·比维罗罗斯·德·卡斯特罗（Eduardo Viveiros de Castro）所说的“相同的激情”中的深处差异映射。这种范例是连续的，