Introduction: Virtual Orientalism in Brazilian Culture

Notes

Introduction: Virtual Orientalism in Brazilian Culture

1 . Daniel Esteves and Wanderson de Souza, “Samurai errante,” Front (S ã o Paulo:tVia Lettera, 2008), 35–45.

2 . Paulo Ramos provides a full list of the comics published to coincide with the centenary of Japanese immigration to Brazil in Revolu çã o do Gibi: A Nova Cara dos Quadrinhos no Brasil (S ã o Paulo: Devir Livraria, 2012). l

3 . Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis, MN: University of Minnesota Press, 1996), 33.

4 . Jeffrey Lesser, A Discontented Diaspora: Japanese Brazilians and the Meanings of Ethnic Militancy, 1960–1980 (Durham, NC, and London: Duke University 0Press, 2007), 13.

5 . Ibid., xxii. 6 . William Gibson, Neuromancer (London: HarperCollins, 1995), 74. r 7 . Fausto Fawcett, Santa Clara Poltergeist (Rio de Janeiro: Editora Mandorino, t

1991) and B á sico instinto (Rio de Janeiro: Relum é Dumar á , 1992). I discussboth of these texts in relation to the discourse of “espiritismo digital” in Science Fiction and Digital Technologies in Argentine and Brazilian Culture (New York, eNY: Palgrave Macmillan, 2013).

8 . Lisa Nakamura, Cybertypes: Race, Ethnicity, and Identity on the Internet (New tYork, NY, and London: Routledge, 2002), 62.

9 . Ibid., 68. 10 . Thomas Foster, The Souls of Cyberfolk: Posthumanism as Vernacular Theory

(Minneapolis, MN, and London: University of Minnesota Press, 2005), 62. 11 . Ibid., 106. 12 . Ibid. 13 . In Cybertypes (62), Nakamura does not credit Morley and Robbins with coin-s

age of the term but says she borrowed it from a paper given by Greta Aiyu Niu.Niu’s take on “techno-orientalism” was published in Greta Aiyu Niu, “Techno-Orientalism, Nanotechnology, Posthumans, and Post-Posthumans in Neal Stephenson’s and Linda Nagata’s Science Fiction,” MELUS 33:4 (2008), 73–96.S

14 . David Morley and Kevin Robbins, Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries (New York, NY, and London: Routledge, s1995), 1.

178 ● Notes

15 . Ibid. 16 . Ibid., 160. 17 . Ibid., 171. 18 . Anne Allison, Millennial Monsters: Japanese Toys and the Global Imagination

(Berkeley, CA, and London: University of California Press, 2006), 10. 19 . Ibid., 13. 20 . Anne Allison, “The Cool Brand, Affective Activism and Japanese Youth,”

Theory, Culture & Society 26:2–3 (2009), 100. y 21 . Anne Allison, “The Japan Fad in Global Youth Culture and Millenial

Capitalism,” in Mechademia 1: Emerging Worlds of Anime and Manga ed. aFrenchy Lunning (Minneapolis, MN and London: University of Minnesota Press, 2006), 17.

22 . Ibid., 16–18. 23 . Julia A. Kushigan, Orientalism in the Hispanic Literary Tradition: In Dialogue

with Borges, Paz, and Sarduy (Albuquerque, NM: University of New Mexico yPress, 1991), 10.

24 . Ignacio L ó pez-Calvo, “Introduction,” in Alternative Orientalisms in Latin America and Beyond ed. Ignacio L ó pez-Calvo (Newcastle: Cambridge Scholars dPublishing, 2007), ix.

25 . Ignacio L ó pez-Calvo, “Introduction,” in Peripheral Transmodernities: South-to-South Intercultural Dialogues between the Luso-Hispanic World and “the Orient” ed. Ignacio L ó pez-Calvo (Newcastle Upon Tyne: Cambridge Scholars ”Publishing, 2012), 1.

26 . Enrique Dussel, “Transmodernity and Interculturality: An Interpretationfrom the Perspective of Philosophy of Liberation,” Transmodernity: Journal of Peripheral Cultural Production of the Luso-Hispanic World 1:3 (2012), 49. dFrancine Masiello echoes this argument in her influential study of cultureunder neoliberalism in Latin America in which she dedicates a chapter towhat she calls “postmodern Orientalism.” The trope of “the Orient” in thefictional narratives that emerged in the Southern Cone during the 1980s and1990s produces what she terms a “countermapping” of modernity, which“dismantle[s] the authority of the North/South map”: “In the process, cartog-raphies are redrawn. The borders that have separated East and West, Northand South are tested through multiple languages.” The Art of Transition: Latin American Culture and Neoliberal Crisis (Durham, NC, and London: Duke sUniversity Press, 2001), 144. Similarly, in her introduction to the collection of essays Orientalisms of the Hispanic and Luso-Brazilian World , Araceli Tinajerodddraws attention to the way that the discourses traced in the book carry out a displacement of Eurocentric orientalism: “how is it possible to study oriental-ist discourses produced by societies where there is no colony-empire relation-ship but rather relationships between post-colonial subjects?” (New York, NY:Escribana Books, 2014), 9.

27 . Manuel de Oliveira Lima, “Coisas extrangeiras: a guerra russo-japoneza,” O Estado de S ã o Paulo , November 26, 1904. Unless otherwise stated, all transla-tions are my own.

Notes ● 179

28 . Manuel de Oliveira Lima, No Jap ã o: Impress õ es da Terra e da Gente (Rio de eJaneiro, S ã o Paulo, e Recife: Laemmert, 1905), 21.

29 . Marcia Takeuchi, “O Imp é rio do Sol Nascente no Brasil: Entre a Idealiza çã o e a Realidade,” in Imigrantes Japoneses no Brasil: Trajetoria, Imagin á rio e Mem ó ria ed. Maria Luiza Tucci Carneiro and Marcia Takeuchi (S ã o Paulo:aEdUSP, 2010), 46.

30 . For other studies of the history of representation of Japanese immigration in Brazil see: Rog é rio Dezem, “Elementos formadores do imaginário sobreo Japonês no Brasil,” Revista de Estudos Orientais 6 (2008), 46–64; Celina sKuniyoshi, Imagens do Jap ã o: Uma utopia de viajantes (S ã o Paulo: Esta çã o sLiberdade, 1998); Jeffrey Lesser (ed.), Searching for Home Abroad: Japanese Brazilians and Transnationalism (Durham, NC, and London: Duke University Press, 2003).

31 . Livia Lazzaro Rezende, “The Raw and the Manufactured: Brazilian Modernity and National Identity as Projected in International Exhibitions (1862–1922),”Unpublished PhD thesis, Royal College of Art (2010), 18.

32 . Ibid., 110. 33 . Ibid. 34 . Ibid. 35 . Gilberto Freyre, “O Oriente e o Ocidente,” Sobrados e mucambos: Decad ê ncia

do patriarcado rural e desenvolvimento do urbano (Rio de Janeiro: J. Olimpio,1951), 748.

36 . Ibid., 745. 37 . Jeffrey D. Needell, “Identity, Race, Gender, and Modernity in the Origins of

Gilberto Freyre’s Oeuvre,” The American Historical Review 100:1 (1995), 72. w 38 . Junichiro Tanizaki, In Praise of Shadows trans. Thomas J. Harper and Edward s

G. Seidensticker (London: Jonathan Cape, 1991), 17. 39 . Boaventura de Sousa Santos, “Para uma sociologia das aus ê ncias e uma socio-

logia das emerg ê ncias,” Revista Cr í tica de Ci ê ncias Sociais 63 (2002), 237. s40 . Lesser, A Discontented Diaspora , xxvi. 41 . Celso Morooka, “Reflex õ es sobre o Futuro da Cultura Japonesa no Brasil,”

in Centen á rio: Contribui çã o da Imigra çã o Japonesa para o Brasil Moderno e Multicultural ed. Kakuo Watanabe, Sedi Hirano et al. (S ã o Paulo: S ã o Paulo’s lComunica çã o e Artes Gr á ficas Ltda., 2010), 476.

42 . Gilles Deleuze, Difference and Repetition trans. Paul Patton (London:Bloomsbury, 2014), 264.

43 . Elizabeth Grosz explains Deleuze’s conception of difference in the following way: “Underlying the dualistic structure by which difference has come to berepresented is a fundamental continuum, a movement of degrees, a movementof differentiation that elaborates a multiplicity of things according to a unity of impulse or force.” Elizabeth Grosz, “Bergson, Deleuze and the Becoming of Unbecoming,” parallax 11:2 (2005), 6. x

44 . In his use of the Deleuzian conception of the virtual to think about the use of digital technologies in architectural design, Brian Massumi points out that “thevirtual is the mode of reality implicated in the emergence of new potentials. In

180 ● Notes

other words, its reality is the reality of change: the event .” “Sensing the Virtual,tBuilding the Insensible,” in Architectural Design 68:5–6 (1998), 16.

45 . Elizabeth Grosz, “Cyberspace, Virtuality, and the Real: Some ArchitectualReflections,” in Architecture from the Outside: Essays on Virtual and Real Space (Cambridge, MA: The MIT Press, 2001), 77.

46 . Ibid. 47 . Ibid., 79. 48 . Thomas Lamarre, “An Introduction to Otaku Movement,” EnterText 4.1 t

(2011), 176. 49 . Ibid., 152. 50 . Ibid., 176. 51 . Berta Waldman, “Terra à Vista: Anota çõ es sobre a Presen ç a de Japoneses na

Literatura Brasileira,” in Imigrantes Japoneses no Brasil: Trajetoria, Imagin á rioe Mem ó ria ed. Maria Luiza Tucci Carneiro and Marcia Takeuchi (S ã o Paulo:aEdUSP, 2010), 407.

52 . Antony Bryant and Griselda Pollock, “Editor’s Introduction,” in Digital and Other Virtualities: Renegotiating the Image ed. Antony Bryant and Griselda ePollock (New York, NY, and London: I.B. Taurus, 2010), 14.

53 . Rey Chow, “The Dream of a Butterfly,” in The Rey Chow Reader ed. PaulrBowman (New York: Columbia University Press, 2010), 125.

54 . Quoted in Chow, “The Dream of a Butterfly,” 126. 55 . Ibid. 56 . James Clifford’s critique of Said’s Orientalism focuses on its reliance on a

vaguely defined concept of humanism. After demonstrating that Said “attacksthe discourse from a variety of positions” without questioning the grounding of his own position of enunciation, Clifford argues that “the most constant position from which it [the book] attacks Orientalism is a familiar set of val-ues associated with the Western anthropological human sciences—existentialstandards of ‘human encounter’ and vague recommendations of ‘personal, authentic, sympathetic, humanistic knowledge’.” This position contradictsthe use of Foucauldian discourse theory, which is grounded in a critique of humanism. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge, MA, and London: Harvard University Press, t1988), 261–264.

57 . By identifying this connection between “anti-orientalism” and posthuman-ism, I differ from Marcel Vejmelka in his study of the figure of Japan in con-temporary Brazilian literature. Vejmelka argues that novels such as O sol se p õ e em S ã o Paulo (2007) by Bernardo Carvalho and Rakushisha (2009) by Adriana aLisboa set up encounters with the Japanese Other “para ali descobrir e revelar aspectos que dizem respeito à universalidade da natureza humana e seus con-flitos existenciais.” “O Jap ã o na literatura brasileira atual,” Estudos de literatura brasileira contempor â nea 43 (2014), 228. By contrast, I argue that by fusing aan anti-orientalist critique with a posthumanist tendency, the texts I discuss question the normativity of the human.

58 . Rosi Braidotti, The Posthuman (Cambridge: Polity, 2013), 3.

Notes ● 181

59 . Nancy Leys Stepan, Picturing Tropical Nature (London: Reaktion Books,e2001), 21.

60 . Jane Elliott and Derek Attridge, “Introduction: Theory’s Nine Lives,” in Theory After ‘Theory’ ed. Jane Elliott and Derek Attridge (New York, NY, and’London: Routledge, 2011), 4.

61 . Ibid. 62 . Boaventura de Sousa Santos, “Between Prospero and Caliban: Colonialism,

Postcolonialism, and Inter-Identity,” Luso-Brazilian Review 39:2 (2002), 16. w 63 . Ibid. 64 . Ibid., 17. 65 . Lamarre, “An Introduction to Otaku Movement,” 178. 66 . In these ways, my use of the term “virtual orientalism” places a very different

emphasis on the “virtual” than Jane Naomi Iwamura in her study of oriental-ism in literary and popular culture in the United States during the twentieth century. Iwamura uses the word “virtual” to point to the fact that the ori-entalist discourses that she analyzes were more often than not mediated by visual technologies. This visual mediation, she argues, reinforces the oriental-ist fantasy since “the visual nature of the image lends the representation animmediacy and ontological gravity that words cannot”: “Buttressed by news-print or a film’s story line, the visual representation adds gravitas to the narra-tive and creates its own scene of virtual encounter.” Virtual Orientalism: Asian Religions and American Popular Culture (New York, NY: Oxford University ePress, 2011), 7.

67 . Vasant Kaiwar and Sucheta Mazumdar, “Race, Orient, Nation in the Time-Space of Modernity,” in Antinomies of Modernity: Essays on Race, Orient, Nation ed. Vasant Kaiwar and Sucheta Mazumdar (Durham, NY, and London: DukeUniversity Press, 2003), 263.

68 . Ibid., 265.

1 Graphic Fictions of Japanese Immigration to Brazil:“Pop Cosmopolitan” Mobility and the Disjunctive Temporalities of Migration

1 . Henry Jenkins, Fans, Bloggers, and Gamers: Exploring Participatory Culture(New York, NY: NYU Press, 2006).

2 . Tim Cresswell, On The Move: Mobility in the Modern Western World (New dYork, NY, and London: Routledge, 2006), 1.

3 . Mimi Sheller and John Urry, 2006, “The New Mobilities Paradigm,”Environment and Planning A 38:2 (2006), 209.

4 . Cresswell, On The Move , 3. e 5 . Tim Cresswell, “Towards a Politics of Mobility,” Environment and Planning

D: Society and Space 28:1 (2009), 18. e 6 . Caren Kaplan, “Transporting the Subject: Technologies of Mobility and

Location in an Era of Globalization,” PMLA 117:1 (2002), 35.

182 ● Notes

7 . John Urry uses the concept of mobility to set out a “new agenda for sociol-ogy” in its “post-societal phase.” Society Beyond Societies: Mobilities for the Twenty-First Century (New York, NY, London: Routledge, 2000), 1.

8 . Jeffrey Lesser, Immigration, Ethnicity, and National Identity in Brazil: 1808 to the Present (Cambridge: Cambridge University Press, 2013), 3–4. t

9 . These are just two of a number of comics and graphic novels published to mark the centenary of Japanese immigration in Brazil. Others include Banzai! Hist ó ria da Imigra çã o Japonesa no Brasil em Mang á by J ú lio Shimamoto andáAlmanaque Maluquinho: O Jap ã o dos Brasileiros by Ziraldo. s

10 . Ricardo Giassetti and Bruno D’Angelo, O catador de batatas e o filho da cos-tureira (S ã o Paulo: Editora JBC, 2008). a

11 . Jenkins, Fans, Bloggers, and Gamers, 156. 12 . Andr é Uesato, Renata Corr ê a et al., O vento do Oriente: Uma viagem atrav é s da

imigrac ã o japonesa no Brasil (Rio de Janeiro: IBGE, 2008), 13. l 13 . Ibid., 35. 14 . Rachel Bowlby, Carried Away: The Invention of Modern Shopping (London: g

Faber, 2000), 25. 15 . I discuss Shindo Renmei and Japanese fascism at greater length in chapters 4

and 6 . 16 . Andr é Uesato, Renata Corr ê a et al., O vento do Oriente , 45. e 17 . Ibid., 17. 18 . Alison Landsberg, Prosthetic Memory: The Transformation of American

Remembrance in the Age of Mass Culture (New York, NY: Columbia University ePress, 2004), 51.

19 . Ibid., 30. 20 . Sianne Ngai, “The Cuteness of the Avant-Garde,” Critical Inquiry 31 (Summer y

2005), 816. 21 . Ibid. 22 . Saulo B. Cwerner, “The Times of Migration,” Journal of Ethnic and Migration

Studies 27:1 (2001), 16–18. s 23 . Ibid., 16. 24 . Ibid., 25–26. 25 . Scott Bukatman, The Poetics of Slumberland: Animated Spirits and the

Animating Spirit (Berkley, CA, and London: The University of California tPress, 2012), 34.

26 . Ibid. 27 . Paul Gravett, Manga: Sixty Years of Japanese Comics (London: Lawrence King s

Publishing, 2004), 21. In Brazil, Renato de Faria Cavalheiro has written illu-minatingly on the development of cartooning in Meiji Japan. “Propaganda ideológica em mídia impressa: Uma busca pela verdade acerca da possível influência do mangá japonês sobre juventude brasileira,” Unpublished MastersThesis, University of São Paulo (2009).

28 . Val é rie Cools, “The Phenomenology of Contemporary Mainstream Manga,”Image & Narrative 12:1 (2011), 80. e

Notes ● 183

29 . Cwerner, “The Times of Migration,” 29. 30 . Turma da M ô nica Jovem is an exception to this. However, the fact that the edi-

tors insert a warning note at the end of the book, informing readers that they should start at the other end, reveals how common it has become.

31 . Beno î t Peeters, Lire la bande dessin é e (Paris: Casterman, 1998), 91. e 32 . “Otaku” consumer practices will be discussed at greater length in chapter 2 . 33 . Andr é Uesato, Renata Corr ê a et al., O vento do Oriente , 18. e 34 . Roland Barthes, Camera Lucida trans. Richard Howard (New York, NY: Hilla

and Wang, 1981), 96. 35 . Ibid. 36 . Lesser, Immigration, Ethnicity, and National Identity in Brazil, 77. l 37 . Giassetti and D’Angelo, O catador de batatas e o filho da costureira , N/A. The

book is unpaginated. 38 . Lesser points out that the 1972 novel A Ferro e Fogo, I: Tempo de Solid ã o by

Josu é Marques Guimar ã es, which recounts a German immigrant’s strug-gle to survive and prosper in Brazil, was once required reading in the state schools of Rio Grande do Sul. Immigration, Ethnicity, and National Identity in Brazil , 32. l

39 . Lesser, Immigration, Ethnicity, and National Identity in Brazil, 154. l 40 . Benedict Anderson, Imagined Communities (New York, NY, and London: s

Verso, 1983), 18. 41 . Lesser, Immigration, Ethnicity, and National Identity in Brazil, 10. l 42 . Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (New s

York, NY, and London: Verso, 1993), 7. 43 . Cresswell, “Towards a Politics of Mobility,” 18. 44 . Gilroy, The Black Atlantic, 17. 45 . Ibid., 16. 46 . Ian Christie, The Last Machine: Early Cinema and the Birth of the Modern

World (London: BBC Educational Developments, 1994), 17. d 47 . Bruno D’Angelo, quoted in Diego Assis, “HQ bil í ng ë mostra os dois lados da

imigra çã o japonesa no Brasil,” Globo 1 , November 9, 2008. http://g1.globo.com/Noticias/Quadrinhos/0,,MUL756675–9662,00.html [Accessed October 8, 2014].

48 . Alexandre Manoel, “Resenha HQB: O catador de batatas e o filho da cos-tureira,” Impulso HQ, March 2, 2009. http://impulsohq.com/resenha-hqb/QQresenha-hqb-o-catador-de-batatas-e-o-filho-da-costureira/ [Accessed October8, 2014].

49 . The Barefoot Gen comics were published in the Weekly Shonen Jump maga-zine between 1983 and 1985.

50 . Thomas Lamarre, “Manga Bomb: Between the Lines of Barefoot Gen,” inComics Worlds and the World of Comics ed. Jacqueline Berndt (Kyoto: Kyoto sSeika University, 2010), 266.

51 . Ibid., 272. 52 . Ibid., 273.

184 ● Notes

53 . Vasant Kaiwar and Sucheta Mazumdar, “Race, Orient, Nation in the Time-Space of Modernity,” in Antinomies of Modernity: Essays on Race, Orient, Nation ed. Vasant Kaiwar and Sucheta Mazumdar (Durham, NC, and London: DukeUniversity Press, 2003), 262.

2 Otaku Culture and the Virtuality of Immaterial Labor in Maurício de Sousa’s Turma da Mônica Jovem

1 . Waldomiro Vergueiro, “A odiss é ia dos quadrinhos infantis brasileiros: Parte 2:O predom í nio de Maur í cio de Sousa e a Turma da M ô nica ,” http://www.eca.usp.br/nucleos/nphqeca/agaque/ano2/numero2/artigosn2_1v2.htm [Accessed October 8, 2014].

2 . Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New eYork, NY, and London: New York University Press, 2006), 20.

3 . “Caboclo” is a term used to refer to people of mixed Indigenous Brazilianand European descent or a person of Amerindian descent. It is also used as a synonym for “caipira,” the term colloqually used as the equivalent of “hick.”Maur í cio’s phrase seems also to be a reference to the title of the Legi ã o Urbana song of 1987 “Faroeste Caboclo” [“Brazilian Western”]. “ISTO É Entrevista,”by H é lio Gomes, ISTO É , October 28, 2011. É

4 . Jenkins, Convergence Culture, 75. e 5 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 2: A aventura contin ú a

(S ã o Paulo: Maur í cio de Sousa Produ çõ es, 2008). 6 . Koichi Iwabuchi, Recentring Globalization: Popular Culture and Japanese

Transnationalism (Durham, NC, and London: Duke University Press, 2002), 27. 7 . Maurizio Lazzarato, “Immaterial Labor,” trans. Paul Colilli and Ed

Emory, in Radical Thought in Italy ed. Paolo Virno and Michael Hardt (Minneapolis, MN: University of Minnesota Press, 1996), 133.

8 . Ibid. 9 . Ibid., 134.

10 . Michael Hardt and Antonio Negri, Empire (Cambridge, MA, and London, eEngland: Harvard University Press, 2000), 293.

11 . John Kraniauskas, “Empire, or Multitude: Transnational Negri,” Radical Philosophy 103 (2000), 35. y

12 . Ibid., 357. 13 . Anne Allison, “The Cool Brand, Affective Activism and Japanese Youth,”

Theory, Culture & Society 26 (2009), 90. y 14 . Thiam Huat Kam, “The Anxieties that Make the ‘Otaku’: Capital and the

Common Sense of Consumption in Contemporary Japan,” Japanese Studies33:1 (2013), 41.

15 . Ibid. 16 . Ibid. 17 . Tiziana Terranova, “Free Labor: Producing Culture for the Digital Economy,”

Social Text 63:18:2 (2000), 34. t

Notes ● 185

18 . Ibid., 41. 19 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 1: Eles Cresceram! (S ã o!

Paulo: Maur í cio de Sousa Produ çõ es, 2008), 97. 20 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 5: As Aventuras do Dia-

a-Dia! (S ã o Paulo: Maur í cio de Sousa Produ çõ es, 2008), N/A. ! 21 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 3: Novos Desafios! (S ã o!

Paulo: Maur í cio de Sousa Produ çõ es, 2008), 45. 22 . Beth Coleman, Hello Avatar: Rise of a Networked Generation (Cambridge, MA,

and London, England: The MIT Press, 2011), 3–4. 23 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 29: O Mundo Do

Contra (Parte 1 de 2) (S ã o Paulo: Maur í cio de Sousa Produ çõ es, 2010), 41. 24 . Ibid., 25. 25 . Ibid., 38. 26 . Ibid., 40. 27 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 30: O Mundo Do

Contra (Parte 2 de 2) (S ã o Paulo: Maur í cio de Sousa Produ çõ es, 2011), 8. 28 . Thomas Lamarre, “An Introduction to Otaku Movement,” EnterText 4.1t

(2011), 168. 29 . Ibid., 167. 30 . Ibid., 181. 31 . Azuma Hiroki, “The Animalization of Otaku Culture,” trans. Thomas

Lamarre, Mechademia 2: Networks of Desire ed. Frenchy Lunning (Minneapolis,eMN, and London: University of Minnesota Press, 2007), 181.

32 . Thierry Groensteen, L’Univers des Mangas: Una Introduction à la Bande Dessin é e Japonaise (Paris: Casterman, 1991), 47. e

33 . Val é rie Cools, “The Phenomenology of Contemporary Mainstream Manga,” Image & Narrative 12:1 (2011), 71. e

34 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 4: Fortes Emo çõ es . . . , 47.

35 . Ibid., 68. 36 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 3: Novos Desafios!, !!

127. 37 . Ibid. 38 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem em Cores 1: O Segredo

do Acampamento (S ã o Paulo: Maur í cio de Sousa Produ çõ es, 2009), 4. 39 . Terranova, “Free Labor: Producing Culture for the Digital Economy,” 48. 40 . Ibid. 41 . Lamarre, “An Introduction to Otaku Movement,” 159. 42 . Ibid., 161. 43 . W. J. T. Mitchell, What Do Pictures Want? The Lives and Loves of Images

(Chicago, MI, and London: The University of Chicago Press, 2005), 53. 44 . Ibid., 61–68. 45 . Steven Withrow and Alexander Danner, Character Design for Graphic Novels

(Hove: RotoVision, 2007), 34.

186 ● Notes

46 . Thomas Lamarre, The Anime Machine: A Media Theory of Animation(Minneapolis, MN, and London: University of Minnesota Press, 2009), 196.

47 . Ibid., 192. 48 . Ibid., 106. 49 . Ibid. 50 . In The Plague of Fantasies , Slavoj Ž i ž ek also examines the paradoxical rein-s

forcement of the logic of the commodity fetish in the “gradual dissipation of the very materiality of the fetish”: “The dematerialization of money into digital code, far from fragmenting the fetish, reinforces it. Money turns into the invisible, and for that reason all-powerful, spectral frame which dominatesall our lives.” (London: Verso, 2008), 131–132.

51 . Sonia Bide Luyten, Mang á : O poder dos quadrinhos japoneses (S ã o Paulo: Hedra, s2012), 20. In his discussion of manga, Tierry Groensteen also describes Japan as a “culture de l’image.” L’Univers des Mangas: Una Introduction à la Bande Dessin é e Japonaise (Tourai: Casterman, 1991), 6. e

52 . I explore these ideas at greater length in chapter 3 . 53 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 47: Bem-vindos ao

Jap ã o (S ã o Paulo: Maur í cio de Sousa Produ çõ es, 2012), 24. 54 . Ibid. 55 . Ibid., 43. 56 . Ibid., 29. 57 . Ibid., 15. 58 . Anne Allison, Millennial Monsters: Japanese Toys and the Global Imagination

(Berkeley, CA, and London: University of California Press, 2006), 12. 59 . Maur í cio de Sousa Produ çõ es, Turma da M ô nica Jovem 47: Bem-vindos ao

Jap ã o , 92. 60 . Ibid., 95–96. 61 . Ibid., 17. 62 . Daniel Galera and Rafael Coutinho, Cachalote (S ã o Paulo: Companhia das e

Letras, 2010).

3 Ekphrastic Anxiety in Virtual Brazil:Photographing Japan in the Fiction of Alberto Renault

1 . W. J. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation(Chicago, MI, and London: The University of Chicago Press, 1994), 151.

2 . Ibid., 154. 3 . Ibid. 4 . Ibid., 155. 5 . Ibid., 157. 6 . Ibid., 163. 7 . See discussion of immaterial labor in chapter 2 . 8 . R é gis Debray, “Remarks on the Spectacle,” New Left Review I 214 (1995),I

139.

Notes ● 187

9 . Ibid., 138. 10 . Jean Baudrillard, “The Ecstacy of Communication,” trans. John Johnston in

The Anti-Aesthetic: Essays on Postmodern Culture (Port Townsend, WA: Bay ePress, 1983), 130.

11 . Marcy E. Schwartz and Mary Beth Tierney-Tello have provided a wideraccount of connections with photography in Latin American literature. In her article in the collection, which focuses on three texts from Chile, Tierney-Tello analyzes the insertion of photographs within written texts as an assertion of a “marginal reality,” an attempt to “‘make present’ individuals or groups thathave been semi-obliterated by official culture.” This strategy is all the morepotent as it uses a medium, photography, used as a key part of the surveillance strategy of the state. “On Making Images Speak: Writing and Photography inThree Texts from Chile,” in Photography and Writing in Latin America: Double Exposures eds. Marcy E. Schwartz and Mary Beth Tierney-Tello (Albuquerque, sNM: University of New Mexico Press, 2006), 87.

12 . Pedro Erber, “Contemporaneity and Its Discontents,” diacritics 41:1 (2013),s34.

13 . Ibid., 36. 14 . Alberto Renault, A foto (Rio de Janeiro: Editora Objetiva, 2003), 22. 15 . Ibid., 41. 16 . Ibid., 43. 17 . Ibid., 47. 18 . Ibid., 108. 19 . Ibid., 31. 20 . Ivan Vanatian, “Tokyo, Mon Amour,” in Takashi Homma: Tokyo (New York,

NY: Aperture Foundation, 2008), 230–231. 21 . Ibid., 231. 22 . Johannes Fabian, Time and the Other: How Anthropology Makes its Object

(New York, NY: Columbia University Press, 2003), xli. Pedro Erber engageswith Fabian’s work in his discussion of “contemporaneity.”

23 . Alberto Renault, Moko no Brasil (Rio de Janeiro: Aeroplano Editora, 2006), 10. l 24 . Ibid., 17. 25 . Ibid., 48. 26 . W. J. T. Mitchell, What Do Pictures Want? The Lives and Loves of Images

(Chicago and London: The University of Chicago Press, 2005), 162. 27 . Ibid. 28 . Rey Chow, Writing Diaspora: Tactics of Intervention in Contemporary

Cultural Studies (Bloomington and Indianapolis: Indiana University Press,1993), 59.

29 . Ibid., 60. 30 . Kojin Karatani and Sabu Kohso, “Uses of Aesthetics: After Orientalism,”

boundary 2 25:2 (1998), 147. 2 31 . Pierre Huyghe and Philippe Parreno, “No Ghost Just a Shell,” http://www.

mmparis.com/noghost.html , [Accessed December 10, 2013].

188 ● Notes

32 . Renault, A foto , 6. 33 . Ibid. 34 . Ibid., 7. 35 . Ibid., 18. 36 . Liliane Louvel, Poetics of the Iconotext, ed. Karen Jacobs and trans. Laurencet

Petit (Farnham: Ashgate Publishing, 2011). 37 . In her analysis of Michel Butor’s La Modification , Sonia Lagerwall refers to

this as a “unimedial iconotext.” Sonia Lagerwall, “A Reading of Michel Butor’s La Modification as an Emblematic Iconotext,” in Writing and Seeing: Essays on Word and Image ed. Rui Carvalho Homem and Maria de F á tima Lamberte(Amsterdam and New York: Rodopi, 2006), 120.

38 . Renault, A foto , 102. 39 . Ibid., 107–108. 40 . Ibid., 108. 41 . Renault, Moko no Brasil , 117. l 42 . Jean Baudrillard, The Intelligence of Evil or the Lucidity Pact trans. Chris Turnert

(New York, NY, and Oxford: Berg, 2005), 94. 43 . Ibid., 94. 44 . Ibid., 95. 45 . Ibid., 97. 46 . Roland Barthes, Camera Lucida trans. Richard Howard (New York, NY: Hilla

and Wang, 1981), 96. 47 . Marcy Schwartz and Mary Beth Tierney-Tello, “Introduction,” in Photography

and Writing in Latin America ed. Marcy E. Schwartz and Mary Beth Tierney-Tello (Albuquerque, NM: University of New Mexico Press, 2006), 3.

48 . Ibid., 13. 49 . Vil é m Flusser, Towards a Philosophy of Photography trans. Anthony Mathewsy

(London: Reaktion Books, 2000), 14. 50 . Flusser, quoted in Andy Stafford, Photo-texts: Contemporary French Writing of

the Photographic Image (Liverpool: Liverpool University Press, 2010), 30. e 51 . Along with the critic Fran ç ois Soulages, Stafford also argues that interactions

between text and images in books can function to “counter” the tendencies toward hypervisibility in the image-saturated culture identified by Baudrillard. For Soulages, photo-texts “permettent de mettre entre parenth è ses le monde” [“allow us to place the world within brackets”] and create a critical space inthe face of the multiplication of images. Quoted in Andy Stafford, Photo-texts:Contemporary French Writing of the Photographic Image (Liverpool: LiverpooleUniversity Press, 2010), 30.

52 . Renault, A foto , 5. 53 . Ibid., 76. 54 . Renault, Moko no Brasil , 60. l55 . Alison Landsberg, Prosthetic Memory: The Transformation of American

Remembrance in the Age of Mass Culture (New York, NY: Columbia University ePress, 2004), 1.

Notes ● 189

56 . Ibid. 57 . Anandi Ramamurthy, “Spectacles and Illusions: Photography and Commodity

Culture,” in Photography: A Critical Introduction Third Edition ed. Liz Wells (New York, NY, and London: Routledge, 2004), 229.

58 . Paul Jobling, Fashion Spreads: Word and Image in Fashion Photography Since 1980 (New York, NY, and Oxford: Berg, 1999), 108. 0

59 . Ibid. 60 . Renault, A foto , 43. 61 . Renault, Moko no Brasil , 14. l 62 . Ibid. 63 . Ibid., 76. 64 . See Amy M. Spindler, “Tracing the Look of Alienation,” New York Times , s

March 2, 1998. 65 . Renault, Moko no Brasil , 86. l 66 . Ibid., 121. 67 . Daniel Touro Linger, No One Home: Brazilian Selves Remade in Japan

(Stanford, CA: Stanford University Press, 2001), 287. 68 . Jane Elliott and Derek Attridge, “Introduction: Theory’s Nine Lives,” in

Theory After ‘Theory’ ed Jane Elliott and Derek Attridge (New York, NY, and ’London: Routledge, 2011), 4.

4 Paranoid Orientalism in Bernardo Carvalho’sO sol se põe em São Paulo

1 . In an interview with Natalia Brizuela, Carvalho identifies paradox as a key feature of his fiction: “Actually, I think that everything I write, in a way,could be summed up as the attempt to put paradoxes into practice,” trans.Cl é lia Donovan, Bomb 102 (2008), http://bombmagazine.org/ article/3038/bernardo-carvalho [Accessed October 8, 2014].

2 . Sanjay Sharma and Ashwani Sharma, “White Paranoia: Orientalism in theAge of Empire,” Fashion Theory 7:3 (2003), 3.

3 . Ibid., 3. 4 . Ibid., 7. 5 . Ibid. 6 . Liv Sovik, “We are family: Whiteness in the Brazilian media,” Journal of

Latin American Cultural Studies 13:3 (2004), 315. 7 . Ibid. 8 . Santiago Castro-G ó mez, drawing on the work of Walter Mignolo, accuses

Empire of Eurocentricism, arguing that rather than bring an end to colonial epower, the developments described by Hardt and Negri entail its “postmodernreorganization”: “This imperialistic reorganization of coloniality is the otherside (invisible to H/N) that Empire needs for its consolidation.” Santiago Castro-G ó mez “The Missing Chapter of Empire,” Cultural Studies 21:2–3s(2007), 435.

190 ● Notes

9 . Bernardo Carvalho, Mong ó lia (S ã o Paulo: Companhia das Letras, 2003), 25. a 10 . Ibid., 26. 11 . Ibid., 32. 12 . Ibid., 25. 13 . Ibid., 50. 14 . Ibid., 21. 15 . Michael Hardt, “The Withering of Civil Society,” in Deleuze and Guattari:

New Mappings in Politics, Philosophy, and Culture ed. Eleanor Kaufman and eKevin Jon Heller (Minneapolis, MN and London: University of Minnesota Press, 1998), 36.

16 . In the story “Los dos reyes y los dos laberintos,” the ultimate labyrinth—“unlabirinto tan perplejo y sutil que los varones m á s prudentes no se aventuraban a entrar”—is the desert itself. The story pre-empts Hardt in drawing atten-tion to the fact that the proliferation of boundaries and borders paradoxically coincides with their absence.

17 . Carvalho, Mong ó lia , 18. 18 . Ibid., 148. 19 . Ibid., 43. 20 . Ibid., 115. 21 . Bernardo Carvalho, O sol se p õ e em S ã o Paulo (S ã o Paulo: Companhia das

Letras, 2007), 164. 22 . Ibid., 97. 23 . The term decass é gui is used to refer to descendants of Japanese immigrants toi

Brazil who move to Japan in search of work and often return to Brazil again. 24 . Bernardo Carvalho, “Fiction as Exception,” Luso-Brazilian Review 47: 1 w

(2010), 4. 25 . Ibid., 5. 26 . Ibid., 6. 27 . Ibid., 6–7. 28 . Ibid., 58. 29 . Michael Hardt and Antonio Negri, Empire (Cambridge, MA, and London,e

England: Harvard University Press, 2000), 114. 30 . Ibid., 136. 31 . Ibid. 32 . Carvalho, O sol se p õ e em S ã o Paulo , 67. 33 . Ibid., 84. 34 . Jean Baudrillard, “On Seduction,” in Selected Writings ed. Mark Poster s

(Cambridge: Polity Press, 2001), 156–157. 35 . Carvalho, O sol se p õ e em S ã o Paulo , 55. 36 . In interviews, Carvalho has referred to Nove noites, Mong ó lia and a O sol se p õ e

em S ã o Paulo as a trilogy. 37 . Bernardo Carvalho, Nove noites (S ã o Paulo: Companhia de Bolso, 2002), 142.s38 . Lidia Santos, “El Cosmopolitismo de Mercado: Del fin de las literaturas

nacionales a la cultura de las celebridades (Brasil, M é xico y Chile),” Revista de Cr í tica Literaria Latinoamericana 69 (2009), 158.

Notes ● 191

39 . Emily Apter, “On One-Worldedness: Or Paranoia as World System,” American Literary History 18:2 (2006), 366. y

40 . Ibid. 41 . Carvalho, O sol se p õ e em S ã o Paulo , 61. 42 . Ibid., 54. 43 . Sharma and Sharma, “White Paranoia: Orientalism in the Age of Empire,” 7. 44 . Thomas Lamarre, Shadows on the Screen: Tanizaki Jun’ ichiro on Cinema and

“Oriental” Aesthetics (Ann Arbor, MI: Center for Japanese Studies, 2005), 19.s 45 . Lamarre points out that: “Many of his best-known novels also entail some sort

of ‘boundary experience’ in which the male protagonist strives, with variousdegrees of success, to overcome the boundaries between reality and fantasy, toconstruct and live in a dream world centered on a siren.” Ibid., 8.

46 . Carvalho, O sol se p õ e em S ã o Paulo , 109. 47 . Lamarre, Shadows on the Screen: Tanizaki Jun’ ichiro on Cinema and “Oriental”

Aesthetics , 9. s 48 . Ibid., 10. 49 . Carvalho , O sol se p õ e em S ã o Paulo , 9. 50 . Baudrillard, “On Seduction,” 157. 51 . Yumiko Iida, Rethinking Identity in Modern Japan: Nationalism as Aesthetics

(New York, NY, and London: Routledge, 2002), 7. 52 . Michel Maffesoli, The Time of Tribes: The Decline of Individualism in Mass

Society trans. Don Smith (London: Sage Publications, 1996), 11. y 53 . Ibid., 27. 54 . David Pollack, Reading Against Culture: Ideology and Narrative in the Japanese

Novel (Ithaca, NY, and London: Cornell University Press, 1992), 6. l 55 . Donald Keene, A History of Japanese Literature, Volume 3: Dawn to the West:

Japanese Literature of the Modern Era (New York, NY: Columbia University aPress, 1998), 507.

56 . Pollack, Reading Against Culture, 81. e 57 . Junichiro Tanizaki, quoted in Keene, A History of Japanese Literature, Volume

3 , 754. 58 . Harry Harootunian, Overcome by Modernity: History, Culture, and Community

in Interwar Japan (Princeton, NJ, and Oxford: Princeton University Press,2000), x.

59 . Ibid., xxvi. 60 . Lu í s Augusto Fischer, “Letras em n ú meros: O que as estat í sticas dizem sobre a

‘Granta’,” Folha de S ã o Paulo , Semptember 2, 2012. 61 . Michel Laub, “O boom do ego,” Blog da Companhia , September 12, 2012.

http://www.blogdacompanhia.com.br/2012/09/o-boom-do-ego/ [AccessedOctober 8, 2014].

62 . Sharma and Sharma, “White Paranoia: Orientalism in the Age of Empire,” 9. 63 . Carvalho, O sol se p õ e em S ã o Paulo , 26. 64 . Ibid., 28. 65 . Ibid., 143. 66 . In chapter 6 , I will discuss the role played by Shindo Renmei in the 2011 film

Cora çõ es sujos. s

192 ● Notes

67 . Mart í n Camps, “Travel and Japanese Migration to Brazil in O sol se põe em SãoPaulo,” in Peripheral Transmodernities: South-to-South Intercultural Dialogues between the Luso-Hispanic World and “the Orient” ed. Ignacio L ó pez-Calvo ”(Newcastle Upon Tyne: Cambridge Scholars Publishing, 2012), 215.

68 . Ibid. 69 . Marilyn Ivy, Discourses of the Vanishing: Modernity, Phantasm, Japan (Chicago,

MI, and London: The University of Chicago Press, 1995), 6.

5 Paulo Leminski’s Haiku and the Disavowed Orientalism of the Poesia Concreta Project

1 . Maria Esther Maciel, “Ocidente/ Oriente: Uma conversa com Haroldo de Campos,” ZUN Á I: Revista de poesia & debates , N/A. http://www.revistazunai.com/entrevistas/haroldo_de_campos.htm [Accessed October 8, 2014].

2 . Ibid. 3 . Gonzalo Aguilar, Poes í a concreta brasile ñ a: Las vanguardias en la encruci-

jada modernista (Rosario: Beatriz Viterbo Editora, 2003), 209. 4 . Haroldo de Campos, “Paulo Leminski,” in A linha que nunca termina:

Pensando Paulo Leminski ed. Andr é Dick and Fabiano Calixto (Rio deJaneiro: Lamparina Editora, 2004), 25.

5 . Haroldo de Campos, “Paulo Leminski,” in Caprichos e relaxos (S ã o Paulo:Editora Brasiliense, 1983), 7.

6 . Haroldo de Campos, “a temperatura informational do texto,” in Teoria da Poesia Concreta: Textos cr í ticos e manifestos 1950–1960 ed. Augusto 0de Campos, D é cio Pignatari, and Haroldo de Campos (S ã o Paulo: Ateli ê Editorial, 2006), 193.

7 . Flora S ü ssekind, Literatura e vida liter á ria: Pol ê micas, di á rios & retratos(Belo Horizonte: Editora UFMG, 2004), 117.

8 . Paulo Leminski, Caprichos e relaxos (S ã o Paulo: Editora Brasiliense, 1983), s57. Polonaises was amalgamated and re-printed in the later 1983 collectionsCaprichos e relaxos. s

9 . S ü ssekind, Literatura e vida liter á ria , 119 and 118. 10 . Among the Japanese-Brazilian practitioners of the haiku form, Franchetti

draws particular attention to Nempuku Sato (1898–1979) who, when he emi-grated to Brazil, took it as his mission to “semear o pa í s de haicais” [“sow thecountry with haikais”], and his disciple Hidekazu Masuda Goga (1911–2008),who along with other Paulista poets, developed a version of the traditionalJapanese haiku in the Portuguese language. Paulo Franchetti, “O Haikai noBrasil,” Alea 10:2 (2008), 267. a

11 . Paulo Prado, “Poesia Pau Brasil,” in Oswald de Andrade, Pau Brasil (S ã o Paulo: lEdUSP Imprensa Oficial, 2004), 10.

12 . Paulo Leminski, “Bonsai: Niponiza çã o e miniaturiza çã o da poesia brasileira,”in Ensaios e anseios cr í pticos (Campinas: Editora Unicamp, 2011), 327. s

Notes ● 193

13 . Augusto de Campos, “pontos-periferia-poesia concreta,” in Teoria da Poesia Concreta: Textos cr í ticos e manifestos 1950–1960, 37 (S ã o Paulo: Ateli ê Editorial, 02006).

14 . Ibid. 15 . Haroldo de Campos, “Fenollosa Revisitado: Pref á cio à 3a Edi çã o,” in

Ideograma: L ó gica, Poesia, Linguagem ed. Haroldo de Campos (S ã o Paulo: EdUSP, 1994[1977]), 16.

16 . de Campos, “Ideograma, Anagrama, Diagrama: Uma Leitura de Fenollosa,” inIdeograma: L ó gica, Poesia, Linguagem (S ã o Paulo: EdUSP, 1995 [1977]), 53.

17 . Aguilar, Poes í a concreta brasile ñ a , 34. 18 . de Campos, “Fenollosa Revisitado: Pref á cio à 3a Edi çã o,” 18. 19 . Ibid. 20 . Ibid. 21 . Ibid., 19. 22 . Eric Hayot, Chinese Dreams: Pound, Brecht, Tel quel (Ann Arbor, MI: Thel

University of Michigan Press, 2004), 30. 23 . Haroldo de Campos, Augusto de Campos, and D é cio Pignatari, “plano-piloto

para poesia concreta,” in Teoria da Poesia Concreta: Textos cr í ticos e manifestos 1950–1960 (S ã o Paulo: Ateli ê Editorial, 2006), 216. 0

24 . Ibid., 217. 25 . Paulo Leminski, Uma carta uma brasa atrav é s: Cartas a R é gis Bonvicino (1976–

1981) (S ã o Paulo: Iluminuras, 1992), 36. 26 . Ibid., 37. 27 . Leminski, “O sonho acabou. Vamos bater mais uma,” in Ensaios e anseios cr í p-

ticos (Campinas: Editora Unicamp, 2011), 63. s 28 . Charles A. Perrone, Seven Faces: Brazilian Poetry Since Modernism (Durham,

NC, and London: Duke University Press, 1996), 118. 29 . Paulo Leminski, “Bash ô : A L á grima do Peixe,” in Vidas (Porto Alegre: Editora s

Sulina, 1990), 71. 30 . T. S. Eliot, “Introduction,” in Ezra Pound, Selected Poems (London: Faber & s

Gwyer, 1928), 14. 31 . Leminski, “Bash ô : A L á grima do Peixe,” 86. 32 . Ibid., 88. 33 . Ibid. 34 . Ibid., 90. 35 . Ibid. 36 . Leminski’s poetic fantasy about the Japanese language is reminiscent of that

of Roland Barthes in L’Empire des Signes. Barthes describes his encounter withsJapanese as a product of knowing the language while not really understanding it. What is perceived is the difference, “sans que cette diff é rence soit jamais r é cup é r é e par la socialit é superficielle du langage [ . . . ] conna î tre, r é fract é s pos-itivement dans une langue nouvelle, les impossibilit é s de la n ô tre” [“withoutthat difference ever being recuperated by the superficial sociality of the lan-guage [ . . . ] encounter the impossibilities of our language refracted positively in another”]. (Gen è ve: Albert Skira É diteur, 1970), 13.

194 ● Notes

37 . Leminski, “Bash ô : A L á grima do Peixe,” 126. Again, here Leminski echoes Barthes’s description of the haiku as the literary branch of Zen and, as such, “uneimmense pratique destin é e à arr ê ter le langage” [“an immense practice fated to arrest language”]. L’Empire des Signes , (Albert Skira É diteur, 1970), 99.s

38 . Antonio Ris é rio, “O vampiro el é trico de Curitiba,” in A linha que nunca termina: Pensando Paulo Leminski ed. Andr é Dick and Fabiano Calixto (Rio deiJaneiro: Lamparina Editora, 2004), 368.

39 . Leminski, “Bash ô : A L á grima do Peixe,” 107. 40 . Haroldo de Campos, “Haicai: Homenagem à s í ntese,” in A arte no horizonte do

prov á vel e outros ensaios (S ã o Paulo: Edit ô ra Perspectiva, 1969), 56. s 41 . Paulo Leminski, “O Boom da poesis f á cil,” in Ensaios e anseios cr í pticos

(Campinas: Editora Unicamp, 2011), 63. 42 . Ibid., 61. 43 . Ibid. 44 . de Campos, de Campos, and Pignatari, “plano-piloto para poesia concreta,”

218. 45 . Leminski, Uma carta uma brasa atrav é s, 44. a 46 . Ibid., 60. 47 . Leminski, quoted in Ris é rio, “O vampiro el é trico de Curitiba,” 363. 48 . Leminski, Uma carta uma brasa atrav é s, 69. 49 . The suggestion is also that the practice of ideogrammic method never lived up

to its theorization. As Leminski puts it, attributing the observation to name-less “critics,” “sobrou teoria e faltou poesia . . .” [“too much theory and too littlepoetry . . . ”]. “Teses, Tes õ es,” in Ensaios e Anseios Cr í pticos, 17. s

50 . Adalberto M ü ller, “Make it news: Leminski, cultura e m í dia,” in A pau a pedra a fogo a pique: Dez estudos sobre a obra de Paulo Leminski ed. MarceloiSandmann (Curitiba: Governo do Estado do Paran á , 2010), 21.

51 . Leminski, Caprichos e relaxos, 138. s52 . Leminski, Uma carta uma brasa atrav é s, 40. a 53 . Ibid., 40–41. 54 . Leminski, “Bash ô : A L á grima do Peixe,” 126. 55 . Aguilar, Poes í a concreta brasile ñ a , 245. 56 . Norbert Wiener, The Human Use of Human Beings: Cybernetics and Society

(Boston, MA: Da Capo Press, 1988 [1954]), 95. 57 . D é cio Pignatari, Informa çã o, Linguagem, Comunica çã o (S ã o Paulo: Editora

Cultrix, 1968), 16. 58 . Ibid., 15. 59 . Ibid., 14–15. 60 . N. Katharine Hayles, How We Became Posthuman (Chicago, MI, and London:

University of Chicago Press, 1999), 86. 61 . Paul Patton, Deleuze and the Political (New York, NY: Routledge, 2000), 48. l 62 . Leminski, “Click: Zen e a arte da fotografia,” in Ensaios e anseios cr í pticos

(Campinas: Editora Unicamp, 2011), 141. 63 . Ibid., 141.

Notes ● 195

64 . Ibid. 65 . The first edition of the collection was published in 1976 with a print run of

only 300 copies, which were sold on the streets of Curitiba. The edition Iconsulted was published in 1990 and consists of 41 images, two of which were produce by the editor Garcez de Mello since the original negatives were lost.

66 . Perrone, Seven Faces , 138. s 67 . Paulo Leminski and Jack Pires, Quarenta clics em Curitiba (Curitiba: Editora a

etcetera, 1990 [1976]). 68 . Ibid. 69 . Leminski and Pires, Quarenta clics em Curitiba , N/A. 70 . Ibid. 71 . Rosi Braidotti, The Posthuman (Cambridge: Polity, 2013), 37. 72 . Ibid. 73 . Ibid., 53. 74 . Ris é rio, “O vampiro el é trico de Curitiba,” 369. 75 . Leminksi, Caprichos e relaxos, 137. s 76 . Leminski, “Estado, Mercado. Quem manda na arte?” in Ensaios e anseios cr í p-

ticos (Campinas: Editora Unicamp, 2011), 63. s 77 . Leminksi, Caprichos e relaxos, 136. s 78 . Jane Naomi Iwamura, Virtual Orientalism: Asian Religions and American

Popular Culture (New York, NY: Oxford University Press, 2011), 36. e 79 . Bernard Stiegler, Technics and Time II: Disorientation trans. Stephen Barker

(Stanford, CA: Stanford University Press, 2009), 61. 80 . Ibid. 81 . Ibid. 82 . Paulo Franchetti argues that, in the context of digital culture, concrete poet-

ry’s project of “absorbing” technology into its field of references becomesan increasingly hopeless challenge. He describes the melancholic experienceof watching Augusto’s clip-poemas such as “cidadecitycit é ” (1999) and “sos” s(2000), the slowness of which contrasts with the speed of high-tech music videos, as evidence of concrete poetry’s inability to reproduce the connectionbetween “t é cnica liter á ria de vanguarda e t é cnica tecnol ó gica” it claimed toachieve during the 1950s. He concludes that the paradoxical result of this incapacity to keep up with the speed of technological change is the revela-tion that concrete poetry, rather than a “negation” of humanism, functions in contemporary culture as “um dos ú ltimos suspiros do humanismo ut ó pico” [“one of the last gasps of utopian humanism”]. Rather than a specific quality of the later digital poems, I would argue that this ambivalence was character-istic of concrete poetry’s anti-humanist stance of the 1950s. Leminski’s poetry and criticism emphasizes the impossibility of “epochal redoubling” but with-out reinforcing a sense of humanism. Paulo Franchetti, “Poesia e t é cnica— Poesia Concreta,” Paulo Franchetti: artigos, resenhas, textos in é ditos (2013), sN/A, http://paulofranchetti.blogspot.co.uk/2013/10/poesia-e-tecnica-poesia- concreta.html [Accessed October 8, 2014].

196 ● Notes

6 Moving Images of Japanese Immigration: The Photography of Haruo Ohara

1 . http://ims.com.br/ims/explore/artista/haruo-ohara [Accessed October 8,2014].

2 . Luciana Martins, Photography and Documentary Film in the Making of ModernBrazil (New York, NY, and Manchester: Manchester University Press, 2013),l111.

3 . Marianne Hirsch, Family Frames: Photography, Narrative, and Postmemory(Cambridge, MA, and London: Harvard University Press, 1997), 197.

4 . Roland Barthes, “Rhetoric of the Image,” in Image—Music—Text trans.tStephen Heath (New York, NY: Hill and Wang, 1977), 47.

5 . Ibid. 6 . Ibid. 7 . Mary Ann Doane, The Emergence of Cinematic Time: Modernity,

Contingency, the Archive (Cambridge, MA, and London: Harvard University ePress, 2002), 3–4.

8 . Ibid., 24. 9 . Ibid., 2–3.

10 . I discuss this photograph of corn later in the chapter. 11 . Gilles Deleuze, Cinema II: The Time Image trans. Hugh Tomlinson (London: e

Continuum, 2005 [1985]), 16. 12 . Jens Andermann, “Expanded Fields: Postdictatorship and the Landscape,”

Journal of Latin American Cultural Studies 21:2 (2012), 172. s 13 . Ibid., 178. 14 . Ibid. 15 . Ibid. 16 . Ibid., 180. 17 . Beatriz Jaguaribe and Maur í cio Lissovsky, “The Visible and the Invisibles:

Photography and Social Imaginaries in Brazil,” Public Culture 21:1 (2009),e176.

18 . Ibid., 178–179. 19 . Nicholas Mirzoeff, “The Multiple Viewpoint: Diaspora and Visual Culture,”

in The Visual Culture Reader: Second Edition ed. Nicholas Mirzoeff (New York,NY, and London: Routledge, 2002), 204.

20 . Ibid., 205. 21 . Ibid. 22 . Here, Mirzoeff draws on Stuart Hall’s article “Cultural Identity and Diaspora,”

in Identity: Community, Culture, Difference ed. Jonathan Rutherford (London: eLawrence and Wishart, 1990).

23 . Mirzoeff, “The Multiple Viewpoint: Diaspora and Visual Culture,” 209. 24 . Alan Tansman, The Aesthetics of Japanese Fascism (Berkeley, CA, and London:

University of California Press, 2009), 1. 25 . Hall, “Cultural Identity and Diaspora,” 235.

Notes ● 197

26 . Ibid. 27 . Ibid., 226. 28 . Jaguaribe and Lissovsky, “The Visible and the Invisibles: Photography and

Social Imaginaries in Brazil,” 202. 29 . Marcos Losnak and Rog é rio Ivano, Lavrador de imagens: Uma biografia de

Haruo Ohara (Londrina: 2003), 65. a 30 . Martins, Photography and Documentary Film in the Making of Modern Brazil, l

119. 31 . Losnak and Ivano, Lavrador de imagens, 160. s 32 . David Campany, “Posing, Acting, Photography,” in Stillness and Time:

Photography and the Moving Image ed. David Green and Joanna Lowry e(Brighton: Photoforum, 2006), 107.

33 . Craig Owens, quoted in Campany, “Posing, Acting, Photography,” 107. 34 . Campany, “Posing, Acting, Photography,” 103–106. 35 . Nancy Leys Stepan, Picturing Tropical Nature (London: Reaktion Books,e

2001), 29. 36 . Ibid., 21. 37 . Samuel Titan Jr. argues that these visual resonances in Gautherot’s images, in

which “o moderno parece adquirir raiz popular” [“the modern seems to acquire a popular root”] are part of the formation of a national-popular imaginary “soba é gide da modernidade” [“under the aegis of modernity”]. Samuel Titan Jr., “Quatro Fot ó grafos da Vida Moderna: Brasil, 1940–1964,” in Modernidades fotogr á ficas: 1940–1964 ed. Ludger Derenthal and Samuel Titan Jr. (Rio de4Janeiro: Instituto Moreira Salles, 2014), 13.

38 . Sergio Burgi, “Haruo Ohara no acervo do Instituto Moreira Salles,” in Haruo Ohara: Fotografias ed. Sergio Burgi (Rio de Janeiro: Instituto Moreira Salles, s2008), 3.

39 . Ibid. 40 . Ibid., 5. 41 . Jacques Ranci è re, “Notes on the Photographic Image,” trans. Darian Meacham,

Radical Philosophy 156 (2009), 9. y 42 . Ibid., 13. 43 . Ibid., 15. 44 . Ibid. 45 . Natalia Brizuela, Fotografia e imp é rio: Paisagens para um Brasil moderno (S ã o

Paulo: Companhia das Letras, 2012), 97. 46 . Ibid., 96. 47 . Ibid., 95. 48 . Marcos S á Correia, “A fra çã o de segundo e a hist ó ria,” in Haruo Ohara:

Fotografias ed. Sergio Burgi (Rio de Janeiro: Instituto Moreira Salles, 2008), 9.s 49 . Geoffrey Batchen, Forget Me Not: Photography & Remembrance (New York,e

NY: Princeton Architectural Press, 2004), 12. 50 . Martins, Photography and Documentary Film in the Making of Modern

Brazil , 125. l

198 ● Notes

Afterword

1 . Rodrigo Grota, “Em busca de uma falsa luz,” ZUN Á I: Revista de poesia e debates 15 (2008), http://www.revistazunai.com/materias_especiais/cin-ema/rodrigo_grota_em_busca_de_uma_falsa_luz.htm [Accessed October8, 2014].

2 . Ibid. 3 . The English is a transcription of the voiceover while the Portuguese is the

text of the subtitles. 4 . Gilles Deleuze, “Immanence: A Life,” in Pure Immanence: Essays on Life

trans. by Anne Boyman (New York, NY: Zone Books, 2001), 25. Theoriginal French version of the title included an ellipsis after the “vie,” a punctuation mark to which Giorgio Agamben, in his discussion of thepiece, attaches considerable importance. “Absolute Immanence,” Giorgio Agamben, Potentialities trans. Daniel Heller-Roazen (Stanford, CA:sStanford University Press, 1999), 220–239.

5 . Ibid., 28. 6 . Ibid. 7 . Ibid., 31. 8 . Bill Nichols, Introduction to Documentary: Second Edition (Bloomington

and Indianapolis, IN: Indiana University Press, 2010), 194.

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Allison, Anne. “The Japan Fad in Global Youth Culture and MillenialCapitalism.” In Mechademia 1: Emerging Worlds of Anime and Manga , editedby Frenchy Lunning, 11–21. Minneapolis, MN and London: University of Minnesota Press, 2006.

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Index

Agamben, Giorgio, 198n4Aguilar, Gonzalo, 120, 124–6, 135Allison, Anne, 6, 52–3, 69Amorim, Vicente, 154Andermann, Jens, 153Anderson, Benedict, 36de Andrade, Mário, 75–6de Andrade, Oswald, 123Apollinaire, Guillaume, 124Appadurai, Arjun, 2Apter, Emily, 109autofição, 105–6, 115–17Azuma, Hiroki, 59–60, 63

Bakhtin, Mikhail, 41Barthes, Roland, 31–2, 88, 150,

193n36, 194n37Basho, Matsuo, 120, 128–9Batchen, Geoffrey, 168–9Baudrillard, Jean, 74–5, 87–8, 108,

113becoming-minor, 136Bergson, Henri, 152Blade Runner, 3rrBonvicino, Régis, 127Bowlby, Rachel, 24Braidotti, Rosi, 15, 140Brizuela, Natalia, 167–8Bryant, Anthony and Pollock,

Griselda, 14Bukatman, Scott, 29Burgi, Sergio, 164Bushido, 159

Caligrammes, 124Campany, David, 163de Campos, Augusto, 119–20, 124–5de Campos, Haroldo, 119–20, 125–7Camps, Martín, 118Carri, Albertina, 153carte de visite, 155Castro-Gómez, Santiago, 189n8O catador de batatas e o filho da

costureira, 32–45Chow, Rey, 14, 82Christie, Ian, 42Clark, Lygia, 139Clifford, James, 180n56Coleman, Beth, 55Cools, Valérie, 30, 60Corações sujos, 154–60Correia, Marcos Sá, 168Costa, Lúcio, 131Coutinho, Rafael, 71Cresswell, Tim, 20Cronenberg, David, 14cute aesthetic, 27Cwerner, Saulo, 28cyberpunk, 3

Debray, Régis, 74–5Deleuze, Gilles, 12, 30, 44, 102, 152,

173–4Deleuze, Gilles and Guattari, Félix,

136–7Deus e o diabo na terra no sol, 41llDezem, Rogério, 179n30

212 ● d Index

The Dharma Bums, 121, 142–3Dick, Philip K., 3Disney, 47Do Androids Dream of Electric Sheep?, 3??Doane, Mary Ann, 28–9, 150–1Dussel, Enrique, 7

ekphrasis, 74, 85–8Eliot, T. S., 129Elliot, Jane and Attridge, Derek, 15–16Erber, Pedro, 76, 81

Fabien, Johannes, 81de Faria Cavalheiro, Renato, 182n27Farkas, Thomaz, 164Fawcett, Fausto, 4Fenollosa, Ernest, 120, 125Ferrez, Marc, 161Fischer, Luís Augusto, 115Flusser, Vilém, 88–9Foster, Thomas, 5, 66Franchetti, Paulo, 123, 192n10, 195n82Freyre, Gilberto, 10

Gaijin, 94Galera, Daniel, 71Garcia Lopes, Rodrigo, 171Gautherot, Marcel, 164Gibson, William, 3, 83Gilroy, Paul, 38, 41Gravett, Paul, 29Groensteen, Thierry, 60, 186n51Grosz, Elizabeth, 12, 179n43Grota, Rodrigo, 147, 171–6

haiku, 121–4, 127Hall, Stuart, 159, 196n22Hardt, Michael, 102Hardt, Michael and Negri, Antonio,

13, 52, 59, 98, 106Harootunian, Harry, 115Haruo Ohara, 147–54Hayles, N. Katherine, 136Hayot, Eric, 126Hirsch, Marianne, 148

Holy Avenger, 31rrHomma, Takashi, 79–81Hora, Maurício, 160Huyghe, Pierre and Parreno,

Philippe, 83Hwang, David Henry, 14

I novel, 114–15ideogram, 121–7Idoru, 83Iida, Yumiko, 113immaterial labor, 51–3, 61–3In Praise of Shadows, 10, 104–5, 111–12Ivy, Marilyn, 118Iwamura, Jane Naomi, 143, 181n66

Jaguaribe, Beatriz and Lissovsky,Maurício, 155, 160

“Japan panic,” 5Japonism, 82–3Jenkins, Henry, 19, 22–3, 48Jobling, Paul, 92

Kaiwar, Vasant and Mazumdar,Sucheta, 18

Kam, Thiam Huat, 53Kaplan, Caren, 20Karouac, Jack, 121, 142–3Kasato Maru, 32–4, 38–9kawai aesthetic, 27Keene, Donald, 114Kojin, Karatani and Kohso, Sabu, 82Kossoy, Boris, 167Kraniauskas, John, 52Kuniyoshi, Celina, 179n30Kushigan, Julia, 7

Lagerwell, Sonia, 188n37Lamarre, Thomas, 10–11, 13, 16,

43–4, 59, 63–4, 65–6, 112Landsberg, Alison, 26, 91Laub, Michel, 116Lazzarato, Maurizio, 51–2Lesser, Jeffrey, 3, 21, 32, 34, 36,

183n39

dIndex ● 213

Linger, Daniel Touro, 94López-Calvo, Ignácio, 7Los rubios, 153Losnak, Marcos and Ivano, Rogério, 161Louvel, Liliane, 85Luyten, Sônia, 67

Maciel, Maria Esther, 119Maffesoli, Michel, 113manga, 13–14, 16, 29–31, 43–4,

48–50, 59–60, 65–7, 71Manoel, Alexandre, 43marginal cinema, 142marginal poetry, 130–1Marker, Chris, 3, 77Martins, Luciana, 147–8, 161Masiello, Francine, 178n26Massumi, Brian, 179n44Maus, 27McCloud, Scott, 43Mirzoeff, Nicholas, 157Mitchell, W. J. T., 64, 67, 74, 82mobility, 20modernist photography, 164Morley, David and Robbins, Kevin,

5, 69Morooka, Celso, 12Mukai, Shutaro, 126Müller, Adalberto, 133–4Murakami, Takashi, 13, 27

Nakamura, Lisa, 4, 11Nara, Yoshitomo, 27Neuromancer, 3–5, 83rrNgai, Sianne, 27Nichols, Bill, 174Nitobe, Inazo, 159Niu, Greta Aiyu, 177n13“No Ghost Just a Shell,” 83No Japão, 7–8

Oliveira, André Luiz, 142de Oliveira Lima, Manuel, 7–8otaku, 13, 16, 49–53, 56–7, 61–3Ozu, Yasujiro, 4, 152

paranoia, 108–9participant poetry, 130Patton, Paul, 136–7Paz, Octavio, 119–20Peeters, Benoît, 31Perrone, Charles, 128, 138Pignatari, Décio, 119, 135–6Pires, Jack, 137Pokémon, 6Pollack, David, 114posthumanism, 14, 121–2, 135–42Pound, Ezra, 120, 125, 129Power Rangers, 6, 69Prado, Paulo, 123Preston, Robert S., 29–30

Quarenta clics em Curitiba, 137–8

Ramamurthy, Anandi, 91Ramos, Paulo, 177n2Rancière, Jacques, 166Resende, Livia, 9Risério, Antonio, 130, 140Rocha, Glauber, 41Ruiz, Alice, 133

Said, Edward, 4, 15Salomão, Waly, 137“Samurai errante,” 1–2Santos, Lidia, 108–9Satori Uso, 171–6Schwartz, Marcy E. and Tierney-Tello,

Mary Beth, 187n11Schwarz, Roberto, 143Scott, Ridley, 3Sganzerla, Rogério, 142Sharma, Sanjay and Sharma, Ashwani,

98Sheller, Mimi and Urry, John, 20Shimamoto, Júlio, 182n9Shindo Renmei, 8–9, 23–4Shishosetsu, 114–15Snyder, Gary, 121society of control, 102Some Prefer Nettles, 114

214 ● d Index

de Sousa Santos, Boaventura, 11, 16

Sovik, Liv, 98Spiegelman, Art, 27Spindler, Amy M., 189n64Stafford, Andy, 188n51Stepan, Nancy Leys, 15, 164Stiegler, Bernard, 143–4Süssekind, Flora, 121–2, 137Suzuki, D. T., 143

Takeuchi, Marcia, 9Tanizaki, Junichiro, 10–11, 104–5,

107, 110–12Tansman, Alan, 158“techno-orientalism,” 4–5, 11Terranova, Tiziana, 53, 62Tezuka, Osamu, 29Tinajero, Araceli, 178n26Titan Jr., Samuel, 197n37Tokyo-Ga, 4, 77

“Tokyogaqui,” 1, 19transmedia, 48–9Turma da Mônica Jovem, 1–2

Urry, John, 182n7

Vanatian, Ivan, 80–1Vejmelka, Marcel, 180n57O vento do Oriente, 23–31Vergueiro, Waldomiro, 47

Waldman, Berta, 14Wenders, Wim, 4, 77Wiener, Norbert, 135–6Withrow, Steven and Danner,

Alexander, 65

Yamasaki, Tizuka, 94

Žižek, Slavoj, 186n50Ziraldo, 182n9

Documents

Introduction: Virtual Orientalism in Brazilian Culture