Books by Rodrigo Lopes de Barros
Liverpool University Press, 2022
At the turn of the 21st century, the Brazilian punk and hardcore music scene joined forces with p... more At the turn of the 21st century, the Brazilian punk and hardcore music scene joined forces with political militants to foster a new social movement that demanded the universal right to free public transportation. These groups collaborated in numerous venues and media: music shows, protests, festivals, conferences, radio stations, posters, albums, slogans, and digital and printed publications. Throughout this time, the single demand for free public transportation reconceptualized notions of urban space in Brazil and led masses of people across the country to protest. This book shows how the anti-capitalist, anti-bourgeoisie stance present in the discourse of a number of Brazilian bands that performed from the late 1990s to the beginning of the 21st century in the underground music scenes of Florianópolis and São Paulo encountered a reverberation in the rhetoric emanating from the Campaign for the Free Fare, subsequently known as the Free Fare Movement (Movimento Passe Livre, or MPL). This allowed the engaged bands and the movement for free public transportation to contribute to each other’s development. The book also includes reflections on the Bus Revolt that occurred in the northeastern city of Salvador, unveiling traces of the punk and anarcho-punk movements, and the Revolution Carnivals that occurred in the city of Belo Horizonte, an event that mixed lectures, vegetarianism, protests, soccer, and punk rock music.
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Relicário Edições, 2020
Jacques Fux’s writing is characterized by intertextuality, self-reflexiveness, and a lu- dic (and... more Jacques Fux’s writing is characterized by intertextuality, self-reflexiveness, and a lu- dic (and lucid) stance in relation to his ques- tions about literature and life, fiction and reality. In the short story “Ménage à Trois” and the film Literary Ménage: An investiga- tion into the Writing of Jacques Fux, direct- ed by Rodrigo Lopes de Barros, Fux evokes or dialogues with David Foster Wallace, Carlos Drummond de Andrade, Susan Son- tag, Charles Baudelaire, Jacques Prévert, Fernando Pessoa, James Joyce, and possibly more writers, resignifying texts by others within his own creation. In the narrative of both works, a casual encounter in a coffee shop between a man and an unknown wom- an—just like the encounter described by Baudelaire in “À une passante”—gives rise to reflections by the (male) narrator about desire, pleasure, sin, religiosity, arousal, and attraction to the unattainable. By including Jacques Fux, who talks with the woman and eats a churro in Mexico, the film adopts another characteristic of his own writing: autofiction, in which Fux is both the author and a character. “Ménage à trois”? Yes, but between whom? The author and the two characters in the film by Rodrigo Lopes de Barros? Or between the narrator, the wom- an, and the churro, as in the short story?—Randal Johnson
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Selected Papers by Rodrigo Lopes de Barros
Afterimage, 2020
This article compares the video Reinforced Concrete (2012) by Lucas Ferraço Nassif, begun during ... more This article compares the video Reinforced Concrete (2012) by Lucas Ferraço Nassif, begun during Antje Ehmann and Harun Farocki's 2011 workshop-based project Labour in a Single Shot in Rio de Janeiro, and the performance Bustox (2014), which was carried out by the Brazilian experimental theater collective ERRO Grupo in Florianópolis. Each artwork can be read as an attempt to defetishize an idol of Brazilian capitalism, former billionaire Eike Batista. Moreover, Ehmann and Farocki's workshop can be seen as an attack on the process of fetishizing products of labor, fetishization being one of the main characteristics of capitalist society. Ehmann and Farocki's project, and consequently Nassif's video, are connected to the work of theoreticians such as Jacques Derrida and Giorgio Agamben concerning the themes of improvisation and profanation. The concept of the fetish is also revitalized by taking into consideration Latin American thinkers
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Revista ABEACHE, 2017
This article departs from the apparent homonymy among works of three figures of Cuban culture, th... more This article departs from the apparent homonymy among works of three figures of Cuban culture, the ethnographer Fernanrdo Ortiz (1881-1969), the filmmaker Tomás Gutiérrez Alea (1928-1996), and the visual artist Ivonne Ferrer (1968). Each of them produced a respective piece with the title [Historia de] Una pelea cubana contra los demonios. This article’s intention is to trace how such intellectuals, who came from distinct generations, faced the complexities, ambiguities and inevitable bifurcations in the path/task of (re)constructing/fictionalizing “history” during epochs of radical turning points in the articulations between culture and politics in the Island of Cuba: the 1959 Revolution, the anticipating events of Quinquenio Gris and the period that followed the dissolution of the Soviet Union.
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Desenredos
Um conto sobre M. Peixoto (?)
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MFL – Mostra do Filme Livre, 17a Edição, 2018
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Comparative Literature Studies, 2012
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Outra Travessia, 2011
Cortina de Fumaça: a fotografia e a singularidade na repetição, ou, colecionando o cotidiano. O a... more Cortina de Fumaça: a fotografia e a singularidade na repetição, ou, colecionando o cotidiano. O acaso é o dom da fotografia, ou o seu inconsciente óptico. O fotógrafo, o colecionador e o historiador. Salim Miguel, As Confissões Prematuras e o narrador como colecionador. A fotografia e a imagem dialética. O troco, a troca, a moeda falsa, o dom e a literatura. Marx, o dinheiro e a narração. O dom é o impossível (Derrida). A impossibilidade de narrar (Benjamin). Dom e economia. Cortina de Fumaça é uma história de trocas. Confissões, não-trama. Bloqueios em Paul Auster e Salim Miguel. Uma história por cachaça. De Biguaçu a Nova York. Tabaco, narração e dispêndio. Tabaco e Festa. Tabaco e tempo. A alma, o olho e a mão (Benjamin e Fernando Ortiz). O tabaqueiro, o narrador e o artesão. Tabaco como arte. Confissões e a guerra cortês, jogo. Tabaco e o seu declínio. Modernidade, drogas, anestesia e estética.
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Alea: Estudos Neolatinos, 2010
Ortiz saw the acceleration of time in Cuba. However, the museification (Agamben) has become the a... more Ortiz saw the acceleration of time in Cuba. However, the museification (Agamben) has become the agenda of post-revolutionary Havana. For Ponte, to walk through the streets of Havana is like to undertake a time travel. The city is not only a museum but also a museum in ruins. Havana is a bombarded city by a bombing that never took place. Thus, life goes underground. Tuguria, the submerged city, is however fully synchronized to the wasteland that grows on the surface.
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XXXVIII Congreso Internacional del Instituto de Literatura Iberoamericana (IILI), 2010
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Sopro 22, Feb 2010
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Traduções by Rodrigo Lopes de Barros
Sopro, 2010
Tradução de "Una metáfora de la esperanza: Las Ruinas" de María Zambrano, publicado originalmen... more Tradução de "Una metáfora de la esperanza: Las Ruinas" de María Zambrano, publicado originalmente na revista Lyceum, vol VIII, n. 26, Havana (Cuba), maio de 1951.
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Books by Rodrigo Lopes de Barros
Selected Papers by Rodrigo Lopes de Barros
Traduções by Rodrigo Lopes de Barros