<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0807-8967</journal-id>
<journal-title><![CDATA[Revista Diacrítica]]></journal-title>
<abbrev-journal-title><![CDATA[Diacrítica]]></abbrev-journal-title>
<issn>0807-8967</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos Humanísticos da Universidade do Minho]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0807-89672024000300062</article-id>
<article-id pub-id-type="doi">10.21814/diacritica.5797</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[O PARANGOLÉ APÓS AS EXPERIÊNCIAS: RESSIGNIFICAÇÃO DE RITOS E PARTICIPAÇÃO EM VANGUARDAS BRASILEIRAS]]></article-title>
<article-title xml:lang="en"><![CDATA[THE PARANGOLÉ AFTER THE EXPERIÊNCIAS: RESIGNIFICATION OF RITES AND PARTICIPATION IN BRAZILIAN AVANT-GARDES]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Gigante]]></surname>
<given-names><![CDATA[Matteo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade de Lisboa Faculdade de Letras da Universidade de Lisboa (FLUL) Centro de Literaturas e Culturas Lusófonas e Europeias (CLEPUL)]]></institution>
<addr-line><![CDATA[Lisboa ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<volume>38</volume>
<numero>3</numero>
<fpage>62</fpage>
<lpage>82</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0807-89672024000300062&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0807-89672024000300062&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0807-89672024000300062&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Ao observar exemplos de participação do público na cocriação de iniciativas culturais, artistas como o modernista Flávio de Carvalho, com as suas Experiências, e Hélio Oiticica (HO), com os seus Parangolés mostram expressões do que chamaremos &#8216;arte do acontecimento&#8217;. Apelando à participação ativa do público a arte conjuga-se de forma inesperada, orientando-se na incerteza de cada instante, aproveitando da cultura popular e da ressignificação de elementos religiosos para a desconstrução de dogmas. Assim, analisando o texto que narra a Experiência nº 2, bem como como a Experiência nº 3, observamos como alguns dos pressupostos intelectuais deste modernista heterodoxo influenciarão o projeto estético e ideológico tropicalista de HO. Neste sentido, através de alguns Parangolés e do heliotexto &#8220;O herói anti-herói e o anti-herói anônimo&#8221; (1968), analisaremos estas obras numa perspetiva literária, interpretando as subjacentes leituras decoloniais do cenário cultural brasileiro. A marginalidade e as turbulências mentais junto ao questionamento da violência hegemónica e contra-hegemónica serão elementos inspiradores de obras que, reivindicando a participação de categorias oprimidas, permitem planear a desconstrução de mitos e ritos da civilização eurocêntrica.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Looking at examples of public participation in the co-creation of cultural initiatives, artists such as the modernist Flávio de Carvalho, with his Experiências, and Hélio Oiticica (HO), with his Parangolés, show expressions of what we will call 'event art'. Appealing to the active participation of the public, art comes unexpectedly, orientated around the uncertainty of each moment, using popular culture and the re-signification of religious elements to deconstruct dogmas. Thus, by analysing the text that narrates the Experiência nº 2, as well as Experiência nº 3, we can see how some of the intellectual assumptions of this heterodox modernism will influence HO's aesthetic and ideological tropicalist project. In this sense, through some Parangolés and the heliotext "O herói anti-herói e o anti-herói anônimo" (1968), we will analyse these works from a literary perspective, interpreting the underlying decolonial readings of the Brazilian cultural scene. Marginality and mental turbulence, together with the questioning of hegemonic and counter-hegemonic violence, will inspire works that, by claiming the participation of oppressed categories, allow us to plan the deconstruction of myths and rites of the Eurocentric civilization.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Literatura brasileira]]></kwd>
<kwd lng="pt"><![CDATA[Estudos interartes]]></kwd>
<kwd lng="pt"><![CDATA[Modernismo brasileiro]]></kwd>
<kwd lng="pt"><![CDATA[Flávio de Carvalho]]></kwd>
<kwd lng="pt"><![CDATA[Hélio Oiticica.]]></kwd>
<kwd lng="en"><![CDATA[Brazilian literature]]></kwd>
<kwd lng="en"><![CDATA[Interart studies]]></kwd>
<kwd lng="en"><![CDATA[Brazilian modernismo]]></kwd>
<kwd lng="en"><![CDATA[Flávio de Carvalho]]></kwd>
<kwd lng="en"><![CDATA[Hélio Oiticica.]]></kwd>
</kwd-group>
</article-meta>
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