Courtesy Tarsila do Amaral Licenciamentos 7 "Anthropophagy" ("Antropofagia"), from 1929.
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Translated in the MoMA exhibition as the "Manifesto of Anthropophagy," it compared Brazilian modernists to cannibals.
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That film, "In-Out Anthropophagy" (1973-74), featured human mouths with wires, threads or smoke wafting or emerging suggestively from them — an evocative and unsettling reference both to the "cultural cannibalism" (anthropophagy) practiced by South American artists and to repressed speech in Brazil under the military regime in power from the mid-60s to the mid-80s.
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Some Brazilian historians and critics have said that the tactics of anthropophagy are now irrelevant in a globalized world, because local history is no longer prized.
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Anthropophagy is a term for cannibalism adopted by the Brazilian Dadaist/Constructivist movement of the 1920s, Movimento Antropofagia, which the Met's wall label fails to point out.
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Tarsila, and the ideas of anthropophagy, handed down some creative tools for these artists who, living under a dictatorship, yet again felt on the periphery and were disconnected from their country.
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The Nonsense section starts off with the majestic mouth of Ms. Maiolino's "In-Out Anthropophagy" from 1973-74 and slows down for a lot of interesting reading, including Samuel Beckett artists-book collaboration with Jasper Johns.
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Not for the first time, Denis wants to observe the human animal on the brink of extremity (her 2001 film, "Trouble Every Day," rich in anthropophagy, is tough to stomach), and Binoche, unabashed, goes along for the ride.
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"Abaporu" was made as a gift to Tarsila's second husband, the poet Oswaldo de Andrade, who was galvanized by its extra brazenly tropical modernism to write the "Manifesto of Anthropophagy," a call to cannibalize foreign influences; it resounded in Brazilian culture for decades.
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Cordoned off in its own darkened room, so that it isn't defused by the competing agendas of the other works in the show, In-Out Anthropophagy is a succession of shots centered on smiling, grimacing, jeering mouths — one adorned with black lipstick, another wreathed in cigarette smoke, and yet another sucking in and spewing out various lengths of string — while a musique concrete soundtrack quietly worms its way under your skin.
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He is also notable for proposing anthropophagy (cannibalism) at a public meeting and offering himself as food to starving Algerians.
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The Necro Files is a 1997 zombie film by director Matt Jaissle. The film depicts zombies as sexual creatures whose desires for human flesh are not limited to anthropophagy.
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Andrade is particularly important for his Manifesto Antropófago (Anthropophagist Manifesto), published in 1928. Its argument is that colonized countries, such as Brazil, should ingest the culture of the colonizer and digest it in its own way. The text is explicitly inspired in Michel de Montaigne, Karl Marx, Sigmund Freud and André Breton, and is composed through a procedure of "deglutition" of some of the most renowned manifestos of the Western culture, such as the Manifesto of the Communist Party and the Surrealist Manifesto. Andrade distinguishes Anthropophagy from cannibalism (low anthropophagy) on the grounds that the former is a ritualistic practice to be found among indigenous peoples in Brazil; in this ritual sense, Anthropophagy functions as a rite of incorporation of the world-view of the ingested enemy.
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Her horror fiction story "The White Maniac: A Doctor's Tale" (included in James Doig's anthology Australian Ghost Stories (2010)) verges on being a tale of vampirism, but its theme is in fact anthropophagy.
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The word "cannibalism" is derived from Caníbales, the Spanish name for the Caribs, a West Indies tribe that may have practiced cannibalism, from Spanish canibal or caribal, "a savage". The term anthropophagy, meaning "eating humans", is also used for human cannibalism.
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Story Teller Pictures, about staff In 2005, she guest-starred in Criminal Minds in the Season 1 episode, 'Blood Hungry' as Deputy Jackie Long who helps the BAU track down a psychotic serial killer whose main motive is anthropophagy (cannibalism).
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By turning Anthropophagy into the motto of a manifesto, Andrade operates an inversion through which he affirms as the leitmotiv of a cultural movement precisely those practices based on which several indigenous peoples were considered as barbarians deprived of culture. Anthropophagy becomes thus a way for the former colony to assert itself against European postcolonial cultural domination. The manifesto's iconic line is "Tupi or not Tupi: that is the question." The line is simultaneously a celebration of the Tupi, who had been at times accused of cannibalism (most notoriously by Hans Staden), and an instance of the anthropophagical rite: It eats Shakespeare.
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Some researchers have found reference to warfare-related cannibalism within Puebloan culture, for example, that among the Hopi, "chewing on shreds of enemy scalps was thought to make children brave hearted".Malotki, E. and K. Gary. (1999)Hopisosont-"Human Cravers": Echos of Anthropophagy in Hopi Oral Traditions. European Review of Native American Studies.
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International Journal of American Linguistics 71. 366.] BR-364 Highway from Vilhelna to Porto Velho Before contact with the "national society", the Kwaza held various rituals and activities. These included a several month isolation of young girls, anthropophagy, and the sport of head-ball. They decorated their bodies with shells, earrings, teeth, and painted their bodies with various dyes.
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B. Sergent remarks that such an inquiry needs to include the Tarvos Trigaranos (the bull of the three horns) of Gaul. In Crete, Velchanos was the god of initiatory practices of youngsters.G. Capdeville "Jeux athletiques et rituels de fondation" Publications de L' École Française de Rome 1993 p. 141-187. Another reflection of the tradition of the Cretan Velchanos-Zeus would be found in Argolid in the mysteries of Zeus Lykaios, which contemplated anthropophagy and may have inspired the Italic Lupercalia.
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This is a list of incidents of cannibalism, or anthropophagy, as the consumption of human flesh or internal organs by other human beings. Accounts of cannibalism date back as far as prehistoric times, and some anthropologists suggest that cannibalism was common in human societies as early as the Paleolithic Era. Historically, numerous tribal societies have engaged in cannibalism, although very few are thought to continue the practice to this day. Occasionally, starving people have resorted to cannibalism for survival necessity.
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Psoglav. Psoglav (, literally "doghead") is a demonic mythical creature in Slavic mythology; belief about it existed in parts of Bosnia and Montenegro. Psoglav was described as having a human body with horse legs, and dog's head with iron teeth and a single eye on the forehead. Psoglavs were described to live in caves or in a dark land which has plenty of gemstones, but no sun. They practice anthropophagy, by eating people, or even digging out corpses from graves to eat them.
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Under normal circumstances, the search and rescue team would have brought back the remains of the dead for burial. However, given the circumstances, including that the bodies were in Argentina, the Chilean rescuers left the bodies at the site until authorities could make the necessary decisions. The Chilean military photographed the bodies and mapped the area. A Catholic priest heard the survivors' confessions and told them that they were not condemned for anthropophagy (eating human flesh), given the in extremis nature of their survival situation.
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José Manuel Springer (coordinator): Migraciones: territories y fronteras. Desplazamientos culturales y nomadismo artístico. Valencia: Editorial Universidad Politécnica de Valencia, 2012, pp. 31–39;71-79. “Beyond Anthropophagy: Art, Internationalization, and Cultural Dynamics”: Hans Belting, Andrea Buddensieg y Peter Weibel (editors): The Global Contemporary and the Rise of New Art Worlds (contributor). Karlsruhe, Cambridge (MA) and London: Center for Art and Media and The MIT Press, 2013, pp. 233–238. “Virginia Pérez-Ratton”. Víctor Hugo Acuña Ortega, Alexandra Ortiz Wallner, Dominique Ratton Pérez (editors): Virginia Pérez-Ratton.
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Known as one of the best edition ever produced, the "Anthropophagy Bienal" was led by Paulo Herkenhoff as general curator and Adriano Pedrosa as associate curator. The concept, extracted from the roots of Brazilian culture, permeated the work of all 76 curators involved in the exhibition, as well as was the result of powerful solo shows dedicated to each of the 53 National Representations. The curators worked with the idea of contamination and put contemporary Brazilian works in dialogue with works in the Historical Nucleus.
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A căpcăun is a creature in Romanian folklore, depicted as an ogre who kidnaps children or young ladies (mostly princesses). It represents evil, as do its counterparts Zmeu and the Balaur. The Romanian word appears to have meant "Dog-head" (căp being a form of cap, meaning "head", and căun a derivative of câine, "dog"). According to Romanian folkloric phantasy, the căpcăun has a dog head, sometimes with four eyes, with eyes in the nape, or with four legs, but whose main characteristic is anthropophagy.
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In the Central African Republic, statutes forbidding cannibalism classified any crime of eating human remains as a misdemeanour. Upon seizing power from David Dacko in 1981, the current President André Kolingba had declared amnesty for all misdemeanours committed during the tenure of his predecessors. Bokassa could not be charged or convicted with the crime, even if there was evidence of guilt. The cannibalism charges against him were brought from old indictments in 1980 that resulted in his conviction in absentia, a year before Kolingba's amnesty, so the anthropophagy charge remained listed among Bokassa's crimes.
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The belonging of the town of Huetar to the Intermediate Area and not to the Mesoamerican cultural space seems to be confirmed by the fact that with respect to the next kingdom visited by the expeditionaries on the coast, that of Chorotega, Cereceda stated that "... it is Caribbean (man-eating) ), and from now on they are ... ". Indeed, it is known without a doubt that both Chorotega and the next two kings visited, Gurutina and Chomes, belonged to the cultural area of Mesoamerica, where the custom of ritual anthropophagy prevailed.BÁKIT, 0scar, Garavito, nuestra raíz perdida, San José, Jiménez & Tanzi, 1a. ed., 1981.
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Molina, Iván, y Steven Palmer: Historia de Costa Rica. San José: Editorial de la Universidad de Costa Rica, 1997. Pág. 17. The Huetar language seems to have been a lingua franca that spoke or at least understood most of the communities that in the 16th century inhabited the Costa Rican territory, especially in the Central Valley and the river basin Virilla and Grande de Tárcoles until its mouth in the Pacific. As common characteristics of these communities, it is worth mentioning relatively dispersed settlement patterns; agriculture based on corn, beans and other crops; great refinement in the work of objects in stone (metates, sculptures, tables and ceremonial altars, etc.), absence of anthropophagy, etc.
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Two divisions predominated: the Anthropophagics (cannibalists), led by Oswald de Andrade, wanted to make use of the influence of European and American artists but freely create their own art out of the regurgitations of what they had taken from abroad (thus the term anthropophagy: they would "eat" all influences, digest it, and throw out new things). The Nationalists wanted no foreign influences, and sought a "purely Brazilian" form of art. This group was led by writer Plínio Salgado, who later became a fascist political leader (Brazilian Integralism) and was arrested by dictator Getúlio Vargas after a failed coup. Before the events leading up to 1922, São Paulo was a prosperous but relatively culturally unimportant city.
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William Arens, author of The Man-Eating Myth: Anthropology and Anthropophagy,(New York: Oxford University Press, 1979; ) questions the credibility of reports of cannibalism and argues that the description by one group of people of another people as cannibals is a consistent and demonstrable ideological and rhetorical device to establish perceived cultural superiority. Arens bases his thesis on a detailed analysis of numerous "classic" cases of cultural cannibalism cited by explorers, missionaries, and anthropologists. He asserts that many were steeped in racism, unsubstantiated, or based on second-hand or hearsay evidence. Accusations of cannibalism helped characterize indigenous peoples as "uncivilized", "primitive", or even "inhuman."Rebecca Earle, The Body of the Conquistador: Food, race, and the Colonial Experience in Spanish America, 1492–1700.
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Myrmica scabrinodis scabrinodis is a subspecies of ant that can be found everywhere in Europe except for Andorra, Bosnia and Herzegovina, Canary Islands, Croatia, Iceland, Malta, Monaco, Madeira, Monaco, San Marino, Slovenia, and Vatican City. It is unique in that it reproduces by ejecting pheromones from its postpetiole directly into the mandibles of its mate. Female ants of this species can also reproduce through thelytokous parthenogenesis, but, unlike most ant species during this process, the individual will rupture the membrane of the gaster, causing a burst of secretions containing their offspring in addition to acetophenones and other chemicals. Oleic acid has been identified as the compound released from dead ants that triggers necrophoric behaviour in genus Myrmica, however M. scabrinodis scabrinodis occasionally respond by engaging in anthropophagy.
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The Spanish chronicles mention a myriad of towns and the kings that ruled them, among them the Garabito Empire, located on the Central Pacific Slope and the Tárcoles River basin, to the Virilla River and the Cordillera Central; the kingdom of Pacaca, in the current canton of Mora, and the Lordship of el El Guarco, in the current Guarco Valley, in the Cartago Province, to the plains of the Central Caribbean and Chirripó. Their culture belonged to the Intermediate Area, and it stood out mainly for their works in stone, such as metates, sculptures, tables and ceremonial altars; and the non- practice of anthropophagy or cannibalism. Its language, the Huetar language, one of the so-called Chibcha languages, became the Lingua franca of the country. Although this language is extinct, it survives in a large number of place names in Costa Rica such as Aserrí, Tucurrique or Barva.
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Dashakumaracharita (The narrative of ten young men, IAST: Daśa-kumāra-Carita, Devanagari: दशकुमारचरित) is a prose romance in Sanskrit, attributed to Dandin (दण्डी), believed to have flourished in the seventh to eighth centuries CE. However, there is some obscurity surrounding its textual tradition, the identity of the author and the date of composition. It describes the adventures of ten young men, the Kumaras, all of whom are either princes or sons of royal ministers, as narrated by the men themselves (however, there are irregularities in the text). These narratives are replete with accounts of demigods, ghosts, prostitutes, gamblers, intrigues with voluptuous women, astonishing coincidences, cockfights, anthropophagy, sorcery, robberies, murders and wars. The reader is treated to some very striking passages; for instance, a seductive young girl (all of whose anatomical features are very frankly described) deftly prepares a fragrant meal of rice-gruel and vegetables for her prospective suitor in the sixth chapter of the Dashakumaracharita.
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