Abstract
This article studies the relationships between the baroque, the city, and the parodic imagery in Gregório de Matos’s satirical works. Using Saint Augustine’s model of the Heavenly and the Worldly City, Bakhtin’s ideas of carnivalization, and Maravall’s study regarding the baroque as a set of socio-historical transformations, I demonstrate how some characteristics of state power and authority in the Brazilian colonial period are associated with the portrayal of the city as a body—human, poetical, and erotic.
Resumo
Abstract
This article studies the relationships between the baroque, the city, and the parodic imagery in Gregório de Matos’s satirical works. Using Saint Augustine’s model of the Heavenly and the Worldly City, Bakhtin’s ideas of carnivalization, and Maravall’s study regarding the baroque as a set of socio-historical transformations, I demonstrate how some characteristics of state power and authority in the Brazilian colonial period are associated with the portrayal of the city as a body—human, poetical, and erotic.
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