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Journal articles on the topic 'Braziliian Art'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Lemos, Rennan. "Arte egípcia para brasileiros." Topoi (Rio de Janeiro) 23, no. 49 (2022): 340–43. http://dx.doi.org/10.1590/2237-101x02304916.

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Martuscelli, Patrícia Nabuco. "Como refugiados são afetados pelas respostas brasileiras a COVID-19?" Revista de Administração Pública 54, no. 5 (2020): 1446–57. http://dx.doi.org/10.1590/0034-761220200516.

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Abstract Refugees are forcibly displaced people who fled their home countries due to persecutions because of their religion, nationality, political opinion, race, or being part of a particular social group. Brazilian Law 9474/1997 recognizes people who are fleeing a situation of severe and generalized violation of human rights as refugees. According to Brazilian law and Constitution, refugees have the same rights as Brazilians. However, my research with 29 refugees living in the states of São Paulo and Rio de Janeiro shows that refugees are disproportionately affected by the Brazilian response

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Ribeiro da Silva Bevilacqua, Juliana. "Afro-Brazilian Art." Critical Interventions 9, no. 2 (2015): 73–76. http://dx.doi.org/10.1080/19301944.2015.1110967.

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Zingano Kuhn, Tanara. "State-of-the-art on monolingual lexicography for Brazil (Brazilian Portuguese)." Slovenščina 2.0: empirical, applied and interdisciplinary research 7, no. 1 (2019): 98–112. http://dx.doi.org/10.4312/slo2.0.2019.1.98-112.

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This paper is a minireview of the current status of monolingual lexicography in Brazil. Firstly, a brief contextualization of the origins of Brazilian Portuguese dictionary-making is provided. Then, an account of contemporary monolingual dictionaries is given and a more detailed overview on print, digital, spelling, and school dictionaries is presented. Next, research into dictionary use is reviewed. Finally, the perception among the Brazilians with regards to corpora and use of crowdsourcing in lexicography is discussed.

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5

Arnt Ramos, André Luiz, and Marcos Catalan. "Contractual interpretation in Brazil under the light of the 2019 Economic Freedom Act." Acta Iuridica Resoviensia 39, no. 4 (2022): 19–33. http://dx.doi.org/10.15584/actaires.2022.4.2.

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The following article scrutinizes innovations brought by the Brazilian Economic Freedom Act to Art. 113 of the Brazilian Civil Code. Departing from a literature review, it outlines several aspects of these innovations, while underlining the principles of contract law – more particularly, private autonomy and the social function of contract. In its concluding remarks, the survey sets forth a call for debate on some pressing issues concerning Brazilian Private Law under the light of the Economic Freedom Act.

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Xavier, Rafael Branco. "A desconsideração na arbitragem? O consentimento atrás do véu." Revista Brasileira de Arbitragem 17, Issue 66 (2020): 35–66. http://dx.doi.org/10.54648/rba2020075.

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The purpose of this article is to discuss the possibility of the application of the disregard doctrine in arbitration. The intent is to answer two questions regarding the application of art. 50 of the Brazilian Civil Code in arbitral proceedings. The first, whether the doctrine could be used to bound a third party which had not consented to the arbitration clause. The second, whether the disregard doctrine could be applied by the arbitrators when ruling on substantive issues of the dispute. The conclusion is negative to the first, as the consent is essential to the enforceability of the arbitr

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AP, Moreno. "Brazilian Contemporary Art in the International Art Market." World Journal of Social Science Research 10, no. 4 (2023): p74. http://dx.doi.org/10.22158/wjssr.v10n4p74.

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With changes in the art world, the Brazilian Contemporary art becomes an interesting subject to be analyzed in its relationship to the art market dynamics. The international art market has been growing since late 90s thanks to globalization. In this sense, the problematization of the research lies in an economical perspective of the art market to understand Brazilian Contemporary art internationalization through art fairs, biennials, art galleries and auction houses. With this analysis, the objective is to present an opinion about the panorama of Brazilian Contemporary art and its internationa

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Alvarez, Mariola V. "Minor Transnational Brazilian Art." Third Text 30, no. 1-2 (2016): 76–89. http://dx.doi.org/10.1080/09528822.2016.1265746.

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Laurito, Luana Dumans, Carla Pereira Loureiro, Maria Eduarda Moreira-de-Oliveira, et al. "Acceptance and commitment therapy associated with exposure and response prevention for obsessive-compulsive disorder: An online group protocol adapted for the Brazilian context." Bulletin of the Menninger Clinic 89, no. 2 (2025): 111–33. https://doi.org/10.1521/bumc.2025.89.2.111.

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Acceptance and commitment therapy (ACT) combined with exposure and response prevention (ERP) is an effective treatment for obsessive-compulsive disorder (OCD). Due to the influence of sociocultural factors on OCD symptomatology, it is crucial to customize and assess ACT within diverse cultural settings. We present an online group protocol for ACT-ERP, tailored for Brazilian adults with OCD, based on a prior pilot study and the work of Twohig and colleagues. The protocol adaptations for online use in a group format included technical arrangements, adjusted session frequency, and cultural adapta

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Casale Taylor Basker, J. "An Artist-Scholar Finds Beauty from Ashes: Brazilian Artist Duda Penteado." Religion and the Arts 18, no. 1-2 (2014): 222–38. http://dx.doi.org/10.1163/15685292-01801011.

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‭Duda Penteado’s Beauty for Ashes Project addresses the dilemma of contemporary artists finding their own voice after the art movements of the twentieth century. His background as a Brazilian and a believing Christian gives him a unique response. He appropriates and transforms the work of great modern artists without a need for elaborate theoretical justification. Much influenced by Paulo Friere and his belief in the significance of art for social change, Duda is involved in art projects with students and the public around the world. In these projects, ideas are developed, and creative art ins

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11

Machado, Arlindo. "Video Art: The Brazilian Adventure." Leonardo 29, no. 3 (1996): 225. http://dx.doi.org/10.2307/1576251.

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12

Gullar, Ferreira. "An Overview of Brazilian Art." Diogenes 48, no. 191 (2000): 109–14. http://dx.doi.org/10.1177/039219210004819109.

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13

Marques, Luiz, Claudia Mattos, Mônica Zielinsky, and Roberto Conduru. "Is there a brazilian art?" PORTO ARTE: Revista de Artes Visuais 22, no. 36 (2017): 263. http://dx.doi.org/10.22456/2179-8001.80119.

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14

Cardoso, Rafael. "The Brazilianness of Brazilian Art." Third Text 26, no. 1 (2012): 17–28. http://dx.doi.org/10.1080/09528822.2012.647643.

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Alckmin-Carvalho, Felipe, Henrique Pereira, António Oliveira, and Lucia Nichiata. "Associations between Stigma, Depression, and Adherence to Antiretroviral Therapy in Brazilian Men Who Have Sex with Men Living with HIV." European Journal of Investigation in Health, Psychology and Education 14, no. 6 (2024): 1489–500. http://dx.doi.org/10.3390/ejihpe14060098.

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Adherence to antiretroviral therapy (ART) is a complex and multi-determined process that is influenced by psychosocial variables. Although international studies have pointed to the adverse impact of HIV stigma, sexual stigma, and depression on ART adherence among men who have sex with men (MSM) with HIV, less is known about this association among Brazilians. We aimed to (a) evaluate indicators of depression, stigma related to HIV and homosexuality, and adherence to ART in a sample of Brazilian MSM living with HIV; (b) assess possible correlations between the variables analyzed, and (c) assess

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16

Valerio, Miguel A. "Atlantic Masters: Three Early Modern Afro-Brazilian Artists." Arts 12, no. 3 (2023): 118. http://dx.doi.org/10.3390/arts12030118.

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Brazil received the largest number of Africans enslaved into the Americas: nearly five million by some estimates. Thus, Brazil became the world’s largest slavocracy. But slavery was not the only experience available to Africans and Brazilians of African descent in slavery-era Brazil. Numerically, Afro-Brazilians dominated the arts in colonial Brazil. However, very few of those artists and artisans, many of whom were enslaved, are known by name today. Free Afro-Brazilian artists, such as Aleijadinho, Mestre Valentim, and Teófilo de Jesus, on the other hand, fared far better. In this article, I

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Sarra De Deus, Adriana Regina. "Arbitrabilidade objetiva e administração pública: quais matérias podem ser arbitradas?" Revista Brasileira de Arbitragem 18, Issue 72 (2021): 10–46. http://dx.doi.org/10.54648/rba2021042.

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Arbitrations involving Brazilian State Entities still give rise to a fertile field to academic research, so that the present essay intends to examine issues that arise when concretely applying objective arbitrability criteria to assess whether a determined act practiced by a State Entity can or cannot be judged in arbitration. In order to achieve that purpose, the adoption of the dichotomy between acta jure gestionis and acta jure imperii as the criterion to assess objective arbitrability is justified. Based on that, the State prerogatives set forth in art. 104 of Act no. 14.133/2021 are indiv

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Попова, Елена, and Elena Popova. "BRAZILIAN NATIONAL PLAN ON EDUCATION: HISTORY AND MODERNITY." Journal of Foreign Legislation and Comparative Law 4, no. 2 (2018): 1. http://dx.doi.org/10.12737/art.2018.2.3.

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19

Araujo, Emanoel. "Thirty Years of Afro-Brazilian Art." Critical Interventions 9, no. 2 (2015): 149–55. http://dx.doi.org/10.1080/19301944.2015.1111001.

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20

Chiarelli, Tadeu. "The object in emerging Brazilian art." Review: Literature and Arts of the Americas 25, no. 44 (1991): 45–53. http://dx.doi.org/10.1080/08905769108594308.

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21

Melim Gadelha, Hayle. "The Art of Diplomacy." Brasiliana: Journal for Brazilian Studies 11, no. 1 (2022): 80–104. http://dx.doi.org/10.25160/bjbs.v11i1.132641.

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The show ‘The Art of Diplomacy – Brazilian Modernism Painted for War’ was opened on 5th April and displayed until 22nd June 2018 at the Sala Brasil, the exhibition space of the Brazilian Embassy in Trafalgar Square, London. This was a partial restaging and tribute to the 1944-1945 ‘Exhibition of Modern Brazilian Paintings’, held at the Royal Academy of Arts in London and seven other major galleries across the United Kingdom. Out of the one-hundred-sixty eight original artworks, twenty-four paintings by twenty artists were found in the public galleries of seventeen cities throughout the UK. The

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Alvarez, Mariola V. "Machine Bodies: Performing Abstraction and Brazilian Art." Arts 9, no. 1 (2020): 11. http://dx.doi.org/10.3390/arts9010011.

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In 1973, Analívia Cordeiro produced the videodance M3x3. Filmed in a Brazilian television studio and choreographed by Cordeiro with a computer, the work explores the limits of the human body through abstraction and its inhabitation of a new media landscape. Tracing the genealogy of M3x3 to the history of videodance, German and Brazilian art, and Brazilian politics, the article spotlights the media central for its conceptualization, production, and circulation to argue for how the video theorizes the posthuman as the inextricable entanglement of the body and technology.

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23

Zimmerman, Rachel A. "Racial Democracy, Visibility, and the History of Colonial Brazilian Art." Arts 12, no. 4 (2023): 125. http://dx.doi.org/10.3390/arts12040125.

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Since the nineteenth century, the history of colonial Brazilian art has highlighted the work of Afro-Brazilian men, specifically those with a white father and Black or parda mother. Antonio Francisco Lisboa, known as Aleijadinho, is the subject of countless books, exhibitions, television shows, and films. In addition to such famous men, dozens of other Afro-Brazilian artists are known and much scholarship has examined iconography and style with ties to African cultures. This extensive and important work has led to major exhibitions demonstrating Afro-Brazilian contributions as central to Brazi

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24

McPHEE, KIT. "‘A new 13th of May’: Afro-Brazilian Port Workers in Rio de Janeiro, Brazil, 1905–18." Journal of Latin American Studies 38, no. 1 (2006): 149–77. http://dx.doi.org/10.1017/s0022216x05000325.

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This article examines the experiences of the Afro-Brazilian coffee transport workers of Rio de Janeiro's port district in the generation following the abolition of slavery in 1888. While they have been condemned by some scholars as reformist and placatory, this article argues that these Afro-Brazilians aggressively contested the new ‘free labour’ regime and the thousands of immigrant labourers who arrived to compete with them. Indeed, far from marking them as passive recipients of state paternalism, the subsequent decision of the port workers to seek an alliance with the state points to the im

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25

Simões, Paiva Alessandra. "Dismantling Boundaries: Impacts of the Decolonial Movement on Brazilian Art Institutions." Art Style, Art & Culture International Magazine 14, no. 14 (2024): 11–37. https://doi.org/10.5281/zenodo.13351359.

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The contemporary art scene is currently undergoing a significant transformation, marked by an increasing number of works that address issues related to race, ethnicity, class, gender, and geopolitics. In Brazil, these artistic productions signal a fundamental shift in the structural order of the art system, which we refer to as the emerging decolonial turn in Brazilian art. This movement challenges the traditional hierarchies that have been in place and promotes a more inclusive and diverse representation within art institutions. Almost all visual arts institutions in Brazil have hosted exhibi

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Bay, Dora Maria Dutra. "An Art Education Network: A Brazilian Experience." International Journal of Art Design Education 18, no. 2 (1999): 217–20. http://dx.doi.org/10.1111/1468-5949.00177.

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27

Cordas, T. A. "Brazilian Psychiatry: The State of the Art." European Psychiatry 12, S2 (1997): 154s. http://dx.doi.org/10.1016/s0924-9338(97)80434-8.

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Thums, Willyam. "Markers of Blackness in Brazilian Black Art." Confluencia: Revista Hispánica de Cultura y Literatura 31, no. 2 (2016): 198–99. http://dx.doi.org/10.1353/cnf.2016.0021.

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Krull, Marcos, Cristiano C. Alves de Lima, Magno L. T. de Oliveira, Alexandre C. Carneiro, Eduardo M. da Silva, and Francisco Barros. "State of the art of Brazilian ecotoxicology." Integrated Environmental Assessment and Management 7, no. 4 (2011): 690–91. http://dx.doi.org/10.1002/ieam.267.

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Jung, Hoyoon. "Contested Racial Democracy: The 2014 World Cup, the 2016 Olympics, and the Emergence of Civic Nationalism in Brazil." SAGE Open 12, no. 1 (2022): 215824402210798. http://dx.doi.org/10.1177/21582440221079840.

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The advent of the 2014 FIFA World Cup and 2016 Olympic Games witnessed a widespread upsurge in bending and ignoring the law in Brazil. Consequently, there was a torrent of exasperated public voices questioning the results of these events for ordinary Brazilians. This paper aims to examine how the Brazilian people’s experiences of these mega-events impacted the traditional Brazilian ideology of racial democracy. Using archival data, in-depth interviews with experts, and unstructured and spontaneous interviews with 143 ordinary citizens in five Brazilian state capitals conducted during field res

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Araújo, Gustavo Cunha de, and Taylane Fernandes Silva. "Apinayé art: a case study in a Brazilian indigenous school." Cogent Education 8, no. 1 (2021): 1869365. https://doi.org/10.1080/2331186X.2020.1869365.

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The <em>Apinayé</em> are a Brazilian indigenous ethnic group that live in a transition zone between the <em>Cerrado</em> and the Amazon. This study primarily aims to understand the meaning that art holds for <em>Apinayé</em> indigenous students at a Brazilian Indigenous School. We used an ethnographic research methodology, while also observing art classes and distributing open questionnaires to these students. The results showed that the arts produced by the indigenous people mostly refer to the body paintings and cultural artifacts they produce, suc

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Chemalle, Thierry, and Alexandre Caixeta Spinola. "Art Collectors as Angel Investors: A Brazilian Collection." International Journal of Economics, Business and Management Research 08, no. 08 (2024): 130–43. http://dx.doi.org/10.51505/ijebmr.2024.8808.

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The literature on measuring returns on art investments typically aims to understand the characteristics of art as an investment class and whether investing in art can yield good returns for an investor and their portfolio. This literature places less emphasis on how the risk taken in the creation of art is assumed and borne by the agents who compose this market. Inspired by the publication “Art Collectors as Angel Investors” (2023) by Whitaker and Kräussl, this study examines a real collection of a Brazilian collector to verify whether the investment strategy employed in the purchase and sale

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Melchior, Myriam, and Edilene Castro. "Popcorn and fabulation in the dissemination of afro-indigenous contributions to brazilian food and immaterial culture." CONTRIBUCIONES A LAS CIENCIAS SOCIALES 17, no. 2 (2024): e4056. http://dx.doi.org/10.55905/revconv.17n.2-078.

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The article highlights the initiative of the Pirapoca Project, inspired by the works of Débora Bolsoni and Ayrson Heráclito, aiming for a reenchantment of traditional foods and promoting engagement in the defense of a Brazilian and sustainable mayze culture. The approach involves playful workshops, exploring mayze in various ways to create a circuit of sensory experiments. The text explores the intersection between indigenous and Afro-Brazilian communities in preserving mayze culture and emphasizes the importance of reclaiming food traditions. It reflects on the current urban context's disconn

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Paula Moreno, Ana, Marcos Rizolli, and Katya Hochleitner. "São Paulo Art Biennial and Its Relation to the Brazilian Art Market." International Journal of Science, Technology and Society 10, no. 3 (2022): 107. http://dx.doi.org/10.11648/j.ijsts.20221003.13.

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Torresan, Angela. "Postcolonial social drama: The case of Brazilian dentists in Portugal." Critique of Anthropology 41, no. 2 (2021): 165–86. http://dx.doi.org/10.1177/0308275x211004713.

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By the late 1990s, when I was conducting ethnographic fieldwork research in Lisbon, the ‘dentists’ case’ had become a familiar trope for the presence of Brazilian immigrants in Portugal. Although it involved a small group of Brazilian and Portuguese professionals, it gained visibility in the media of both countries, escalating into a political and diplomatic quarrel, and culminating in the amendment of the 1966 Cultural Accord. I use Victor Turner’s concept of social drama to address the case as a chapter in the cyclical pattern of connection and disconnection of postcolonial Luso-Brazilian re

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Johnson, Adriana Michéle Campos, and André Keiji Kunigami. "Black Brazilian Cinema." Afterimage 51, no. 4 (2024): 4–7. https://doi.org/10.1525/aft.2024.51.4.4.

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Sneed, Gillian. "The Disciplinary and the Domestic." Diacrítica 34, no. 2 (2020): 107–31. http://dx.doi.org/10.21814/diacritica.534.

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This essay focuses on works of video art from the 1970s and early 1980s by Letícia Parente (1930–1991), a first-generation video art pioneer in Brazil, whose video performances associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration during the period the Brazilian dicatorship (1964–1985). Parente worked in video performance, an approach to performance art in which she performed for the video camera, rather than for a live audience. I argue that in her video performances, Parente performs domestic and quotidian actions in ways

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Campos, Marcelo. "“O freio da Blazer”, a “cara da dura”: notas sobre itinerários entre a cidade, a arte, institucionalidades e ascendências afro-brasileiras / “The Blazer’s brake”, the “face of the police approach”: notes on itineraries between the city, the art, institutionalities and Afro-Brazilian ancestries." arte e ensaios 28, no. 43 (2022): 318–39. http://dx.doi.org/10.37235/ae.n43.18.

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Este texto trata de observações e notas recentes e inéditas sobre a relação da arte produzida por afrodescendentes e seus mecanismos de institucionalidade. De outro modo, são abordados itinerários que se cruzam com minha própria trajetória na Escola de Belas Artes da Universidade Federal do Rio de Janeiro, frente à rara convivência com pessoas racializadas e a metodologias da história da arte invisibilizadoras da arte dos artistas afro-brasileiros. Apresento, também, relatos, lembranças, histórias trocadas com artistas negras, negros e negres da cidade, cuja convivência se dá em diversos âmbit

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Ward, Rodolfo. "Estética e Filosofia Hori." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 15, no. 33 (2025): 360–89. https://doi.org/10.35699/2238-2046.2025.52838.

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The “Art and Innovation in Times of Pandemic” (AITP) project emerged in response to the global COVID-19 crisis, demonstrating the resilience of the Brazilian academic and artistic community. This article investigates how the crisis spurred innovations in Brazilian artistic and cultural practices, reconfiguring art as a means of resistance and social transformation. Using the theoretical lenses of anthropophagic decolonialism and Hori aesthetics, this study examines how these practices address the cultural and social repercussions of the pandemic. Anthropophagic decolonialism, inspired by Oswal

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Cabañas, Kaira M. "Toward a Common Configurative Impulse." MODOS: Revista de História da Arte 5, no. 1 (2021): 115–27. http://dx.doi.org/10.20396/modos.v5i1.8664006.

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Brazilian art critic Mário Pedrosa’s theorization of art’s affective power, whereby the relational contract with the spectator is neither rational nor purely visual but is infused with feeling, was decisive for understandings of geometric abstraction as expressive in the 1950s. “Toward a Common Configurative Impulse” turns to another modernism, nestled alongside the geometric ones that would come to define the aesthetic of artists associated with Concrete Art in these years. Beyond Concrete Art, Pedrosa’s modernism also encompassed the creative production of diverse practitioners, among them,

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Marcondes, Guilherme. "CONEXÕES DE CURA NA ARTE CONTEMPORÂNEA BRASILEIRA / “Cure” connections in contemporary Brazilian art." arte e ensaios 26, no. 40 (2020): 375–91. http://dx.doi.org/10.37235/ae.n40.26.

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As marcas da colonização são profundas no sul global, de modo que mesmo hoje, no Brasil, há indivíduos que, se autodenominando como parte de uma nova direita política, negam os efeitos da colonização, dentre os quais, o racismo. Assim, ao passo que há atores sociais fazendo um revisionismo da história a fim de manter classes dominantes no poder, há também pessoas buscando subverter as lógicas coloniais. Este processo de disputas tem se dado em diversos campos, como o da arte, objeto de interesse deste artigo. Artistas negrodescentes têm angariado atenção no mundo da arte questionando cânones e

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Pérez-Nebra, Amalia Raquel, Ronald Fischer, Cláudio V. Torres, and Klaus Boehnke. "Adaptation of a Cultural Measure in Brazil – Developing a Short Version of the Individualism–Collectivism Vertical–Horizontal Scale." Psychological Test Adaptation and Development 5, no. 1 (2024): 12–25. http://dx.doi.org/10.1027/2698-1866/a000068.

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Abstract: We report psychometric analyses of an adapted version of the measure of individualism–collectivism (IC) and its horizontal–vertical (HV) manifestations ( Singelis et al., 1995 ) for Brazilian samples. We used a large sample ( N = 1,669) split into an exploratory and two cross-validation samples. Using confirmatory factor analysis and a new metaheuristic machine learning approach inspired by ant colony foraging, we found poor psychometric properties. We developed and compared three short scales, which showed poor reliability and poor factor structures. Considering widely used short sc

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Capanema Xavier, Eduardo, Beatriz Xavier Capanema, Jeronimo Ruiz, et al. "Brazilian Genome Sequencing Projects: State of the Art." Recent Patents on DNA & Gene Sequences 2, no. 2 (2008): 111–32. http://dx.doi.org/10.2174/187221508784534203.

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Conduru, Roberto. "The Belated Pioneering Criticism of Afro-Brazilian Art." Art in Translation 14, no. 1 (2022): 1–7. http://dx.doi.org/10.1080/17561310.2022.2049076.

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Gesteira, Santiago G. "Art and Land: Eucalyptus Plantations in Brazilian Documentaries." Humanities 11, no. 2 (2022): 53. http://dx.doi.org/10.3390/h11020053.

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In Brazil, since the early 2000s, different documentaries have raised awareness about the problematic issues that tree plantations, especially eucalyptus, provoke, as they are propagated across the country. By means of interviews and a mix of investigative and expository styles, these films address and denounce the controversial role and power of the timber industry. However, in the last few years, other works have approached the relationships between planted forests and local ecosystems, offering an alternative perspective. This essay analyzes two recent films on the issue, the short film Ger

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de Oliveira, Celso Lemos. "Brazilian Literature and Art: From Colonial to Modern." Hispania 75, no. 4 (1992): 988. http://dx.doi.org/10.2307/343866.

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Almeida, Marcelo, Janelle Joseph, Alexandre Palma, and Antonio Jorge Soares. "Marketing strategies within an African-Brazilian martial art." Sport in Society 16, no. 10 (2013): 1346–59. http://dx.doi.org/10.1080/17430437.2013.821249.

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Fernandes, Maria de Lourdes Goncalves, Alicia Regina Navarro de Souza, Maria Dias Torres Kenedi, Antonio José Ledo Alves da Cunha, Afranio Lineu Kritski, and Maria Kátia Gomes. "Stigma and art therapy with Brazilian leprosy patients." Leprosy Review 93, no. 3 (2022): 265–87. http://dx.doi.org/10.47276/lr.93.3.265.

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Pontual, Roberto. "Cannibalism and constructivism: Two modes of Brazilian Art." Review: Literature and Arts of the Americas 19, no. 36 (1986): 13–17. http://dx.doi.org/10.1080/08905768608594213.

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Anderson, Mark D. "The Environmental Imaginary in Brazilian Poetry and Art." Interdisciplinary Studies in Literature and Environment 22, no. 3 (2015): 678–80. http://dx.doi.org/10.1093/isle/isv059.

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