Introduction: Virtual Orientalism in Brazilian Culture 1

Notes

Introduction: Virtual Orientalism in Brazilian Culture 1 . D a n i e l Esteves and Wanderson de Souza, “Samurai errante,” Front (S ã o Paulo: Via 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 Brasill (Sã o Paulo: Devir Livraria, 2012). 3 . A r j u n A p p a durai, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis, MN: University of Minnesota Press, 1996), 33. 4 . J e f f r e y Lesser, A Discontented Diaspora: Japanese Brazilians and the Meanings of Ethnic Militancy, 1960–19800 (Durham, NC, and London: Duke University Press, 2007), 13. 5 . I b i d . , xxii. 6 . W i lliam Gibson, Neuromancer (London: HarperCollins, 1995), 74. 7 . F a u s t o F a w c e t t , Santa Clara Poltergeistt (Rio de Janeiro: Editora Mandorino, 1991) and B á sico instinto (Rio de Janeiro: Relum é Dumar á , 1992). I discuss both of these texts in relation to the discourse of “espiritismo digital” in Science Fiction and Digital Technologies in Argentine and Brazilian Culturee (New York, NY: Palgrave Macmillan, 2013). 8 . L i s a N a k a m u r a , Cybertypes: Race, Ethnicity, and Identity on the Internett (New York, NY, and London: Routledge, 2002), 62. 9 . I bid., 68. 1 0 . T h o m a s F o s t e r , The Souls of Cyberfolk: Posthumanism as Vernacular Theory (Minneapolis, MN, and London: University of Minnesota Press, 2005), 62. 1 1 . I bid., 106. 1 2 . I b i d . 1 3 . I n Cybertypess (62), Nakamura does not credit Morley and Robbins with coin- 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. 1 4 . D a v i d Morley and Kevin Robbins, Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundariess (New York, NY, and London: Routledge, 1995), 1. 178 ● Notes

1 5 . I bid. 1 6 . I bid., 160. 1 7 . I b i d . , 171. 1 8 . A n n e A l l i s o n , Millennial Monsters: Japanese Toys and the Global Imagination (Berkeley, CA, and London: University of California Press, 2006), 10. 1 9 . I b i d . , 1 3 . 20 . An n e A l l i s o n , “ T h e C o o l B r a n d , A f f e c t i v e A c t i v i s m a n d J a panese Youth,” Theory, Culture & Societyy 26:2–3 (2009), 100. 21 . Anne Allison, “The Japan Fad in Global Youth Culture and Millenial Capitalism,” in Mechademia 1: Emerging Worlds of Anime and Mangaa ed. Frenchy Lunning (Minneapolis, MN and London: University of Minnesota Press, 2006), 17. 2 2 . I b i d . , 16–18. 2 3 . J u l i a A . K u s h i gan, Orientalism in the Hispanic Literary Tradition: In Dialogue with Borges, Paz, and Sarduyy (Albuquerque, NM: University of New Mexico Press, 1991), 10. 2 4 . I g n a c i o L ó p e z - C a l v o , “ I n t r o d u c t i o n , ” i n A lternative Orientalisms in Latin America and Beyondd ed. Ignacio Ló pez-Calvo (Newcastle: Cambridge Scholars Publishing, 2007), ix. 2 5 . I g n a c i o L ó p e z - C a lvo, “Introduction,” in Peripheral Transmodernities: South- to-South Intercultural Dialogues between the Luso-Hispanic World and “the Orient” ed. Ignacio Ló pez-Calvo (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2012), 1. 26. Enrique Dussel, “Transmodernity and Interculturality: An Interpretation from the Perspective of Philosophy of Liberation,” Transmodernity: Journal of Peripheral Cultural Production of the Luso-Hispanic Worldd 1:3 (2012), 49. Francine Masiello echoes this argument in her influential study of culture under neoliberalism in Latin America in which she dedicates a chapter to what she calls “postmodern Orientalism.” The trope of “the Orient” in the fictional narratives that emerged in the Southern Cone during the 1980s and 1990s 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, North and South are tested through multiple languages.” The Art of Transition: Latin American Culture and Neoliberal Crisiss (Durham, NC, and London: Duke University Press, 2001), 144. Similarly, in her introduction to the collection of essays Orientalisms of the Hispanic and Luso-Brazilian Worldd , Araceli Tinajero draws attention to the way that the discourses traced in the book carry out a displacement of Eurocentric orientalism: “how is it possible to study orientalist 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. Manue l de Oliveira Lima, “Coisas extrangeiras: a guerra russo-japoneza,” O Estado de Sã o Paulo , November 26, 1904.Un less otherwise stated, all transla- tions are my own. Notes ● 179

2 8 . M a n u e l de Oliveira Lima, No Japã o: Impressõ es da Terra e da Gentee (Rio de Janeiro, 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 I migrantes Japoneses no Brasil: Trajetoria, Imaginá rio e Mem ó riaa ed. Maria Luiza Tucci Carneiro and Marcia Takeuchi (Sã o Paulo: EdUSP, 2010), 46. 30 . For other studies of the history of representation of Japanese immigration in Brazil see: Rogé rio Dezem, “Elementos formadores do imaginário sobre o Japonês no Brasil,” Revista de Estudos Orientaiss 6 (2008), 46–64; Celina Kuniyoshi, Imagens do Jap ã o: Uma utopia de viajantess ( S ã o P a u l o : E s t a ç ã o Liberdade, 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. 3 2 . I b i d . , 110. 33 . I bid. 34 . I bid. 3 5 . G i lberto 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. 3 6 . I b i d . , 745. 37 . Jeffrey D. Needell, “Identity, Race, Gender, and Modernity in the Origins of Gilberto Freyre’s Oeuvre,” The American Historical Revieww 100:1 (1995), 72. 3 8 . J u n i c hiro Tanizaki, In Praise of Shadowss trans. Thomas J. Harper and Edward G. Seidensticker (London: Jonathan Cape, 1991), 17. 3 9 . B o a v e n t u r a de Sousa Santos, “Para uma sociologia das aus ê ncias e uma sociologia das emergê ncias,” Revista Cr í tica de Ci ê ncias Sociaiss 63 (2002), 237. 4 0 . L e s s e r , A Discontented Diaspora , xxvi. 4 1 . C e lso Morooka, “Reflexõ 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 Multiculturall ed. Kakuo Watanabe, Sedi Hirano et al. (Sã o Paulo: Sã o Paulo’s Comunica çã o e Artes Gr á ficas Ltda., 2010), 476. 4 2 . G i lles Deleuze, Difference and Repetition trans. Paul Patton (London: Bloomsbury, 2014), 264. 4 3 . E lizabeth Grosz explains Deleuze’s conception of difference in the following way: “Underlying the dualistic structure by which difference has come to be represented is a fundamental continuum, a movement of degrees, a movement of differentiation that elaborates a multiplicity of things according to a unity of impulse or force.” Elizabeth Grosz, “Bergson, Deleuze and the Becoming of Unbecoming,” parallaxx 11:2 (2005), 6. 4 4 . I n 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 “the virtual 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 even t .” “Sensing the Virtual, Building the Insensible,” in Architectural Design 68:5–6 (1998), 16. 45 . Elizabeth Grosz, “Cyberspace, Virtuality, and the Real: Some Architectual Reflections,” in Architecture from the Outside: Essays on Virtual and Real Space (Cambridge, MA: The MIT Press, 2001), 77. 4 6 . I b i d . 4 7 . I b i d . , 7 9 . 48 . Th o m a s L a m a r r e , “ A n I n t r o d u c t i o n t o O t a k u M o v e m e n t , ” EnterTextt 4.1 (2011), 176. 4 9 . I b i d . , 1 5 2 . 5 0 . I bid., 176. 5 1 . B e r t a W a ldman, “Terra à Vista: Anotaçõ es sobre a Presenç a de Japoneses na Literatura Brasileira,” in Imigrantes Japoneses no Brasil: Trajetoria, Imagin á rio e Mem ó riaa ed. Maria Luiza Tucci Carneiro and Marcia Takeuchi (S ã o Paulo: EdUSP, 2010), 407. 5 2 . A n t o n y Bryant and Griselda Pollock, “Editor’s Introduction,” in Digital and Other Virtualities: Renegotiating the Imagee ed. Antony Bryant and Griselda Pollock (New York, NY, and London: I.B. Taurus, 2010), 14. 5 3 . R e y C how, “The Dream of a Butterfly,” in The Rey Chow Readerr ed. Paul Bowman (New York: Columbia University Press, 2010), 125. 54 . Quoted in Chow, “The Dream of a Butterfly,” 126. 5 5 . I bid. 5 6 . J a m e s C l i f f o r d ’ s c r i t i que of Said’s Orientalism focuses on its reliance on a vaguely defined concept of humanism. After demonstrating that Said “attacks the 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—existential standards of ‘human encounter’ and vague recommendations of ‘personal, authentic, sympathetic, humanistic knowledge’.” This position contradicts the use of Foucauldian discourse theory, which is grounded in a critique of humanism. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Artt (Cambridge, MA, and London: Harvard University Press, 1988), 261–264. 5 7 . B y i dentifying this connection between “anti-orientalism” and posthumanism, I differ from Marcel Vejmelka in his study of the figure of Japan in contemporary Brazilian literature. Vejmelka argues that novels such as O sol se põ e em S ã o Paulo (2007) by Bernardo Carvalho and Rakushishaa (2009) by Adriana Lisboa 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 contemporâ nea a 43 (2014), 228. By contrast, I argue that by fusing an anti-orientalist critique with a posthumanist tendency, the texts I discuss question the normativity of the human. 5 8 . R o s i B r a i d o t t i , T he Posthuman (Cambridge: Polity, 2013), 3. Notes ● 181

5 9 . N a n c y L e y s Stepan, Picturing Tropical Naturee (London: Reaktion Books, 2001), 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. 6 1 . I b i d . 62 . Boaventura de Sousa Santos, “Between Prospero and Caliban: Colonialism, Postcolonialism, and Inter-Identity,” Luso-Brazilian Revieww 39:2 (2002), 16. 6 3 . I bid. 6 4 . I b i d . , 1 7 . 6 5 . L a m a r r e , “ A n I n t r o duction to Otaku Movement,” 178. 6 6 . I n t hese ways, my use of the term “virtual orientalism” places a very different emphasis on the “virtual” than Jane Naomi Iwamura in her study of orientalism 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 orientalist discourses that she analyzes were more often than not mediated by visual technologies. This visual mediation, she argues, reinforces the orientalist fantasy since “the visual nature of the image lends the representation an immediacy and ontological gravity that words cannot”: “Buttressed by news- print or a film’s story line, the visual representation adds gravitas to the narrative and creates its own scene of virtual encounter.” Virtual Orientalism: Asian Religions and American Popular Culturee (New York, NY: Oxford University Press, 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: Duke University Press, 2003), 263. 6 8 . I b i d . , 265.

1 Graphic Fictions of Japanese Immigration to Brazil: “Pop Cosmopolitan” Mobility and the Disjunctive Temporalities of Migration 1 . H e n r y J e n kins, Fans, Bloggers, and Gamers: Exploring Participatory Culture (New York, NY: NYU Press, 2006). 2 . T i m C r e s s w e ll, On The Move: Mobility in the Modern Western Worldd (New York, NY, and London: Routledge, 2006), 1. 3 . M i m i S heller and John Urry, 2006, “The New Mobilities Paradigm,” Environment and Planning A 38:2 (2006), 209. 4 . C r e s s w e l l , On The Movee, 3. 5 . Tim Cresswell, “Towards a Politics of Mobility,” Environment and Planning D: Society and Spacee 28:1 (2009), 18. 6 . Caren Kaplan, “Transporting the Subject: Technologies of Mobility and Location in an Era of Globalization,” PMLA 117:1 (2002), 35. 182 ● Notes

7 . J o hn 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 . J e f f r e y Lesser, Immigration, Ethnicity, and National Identity in Brazil: 1808 to the Presentt (Cambridge: Cambridge University Press, 2013), 3–4. 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! Histó ria da Imigraçã o Japonesa no Brasil em Mangá by Jú lio Shimamoto and Almanaque Maluquinho: O Jap ã o dos Brasileiross by Ziraldo. 10 . Ricardo Giassetti and Bruno D’Angelo, O catador de batatas e o filho da costureira (S ã o Paulo: Editora JBC, 2008). 1 1 . J e n kins, Fans, Bloggers, and Gamers, 156. 1 2 . A n d r é U e s a t o , R e n a t a C o r rê a e t a l . , O vento do Oriente: Uma viagem atrav é s da imigracã o japonesa no Brasill (Rio de Janeiro: IBGE, 2008), 13. 1 3 . I b i d . , 35. 1 4 . R a c h e l B o w l b y, Carried Away: The Invention of Modern Shoppingg (London: Faber, 2000), 25. 1 5 . I discuss Shindo Renmei and Japanese fascism at greater length in c hapters 4 and 6 . 1 6 . A n dr é Uesato, Renata Corrê a et al., O vento do Orientee , 45. 1 7 . I b i d . , 17. 1 8 . A lison Landsberg, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culturee (New York, NY: Columbia University Press, 2004), 51. 1 9 . I bid., 30. 20 . Sianne Ngai, “The Cuteness of the Avant-Garde,” Critical Inquiryy 31 (Summer 2005), 816. 2 1 . I b i d. 2 2 . S a u lo B. Cwerner, “The Times of Migration,” Journal of Ethnic and Migration Studiess 27:1 (2001), 16–18. 2 3 . I bid., 16. 2 4 . I bid., 25–26. 2 5 . S c o t t B u katman, The Poetics of Slumberland: Animated Spirits and the Animating Spiritt (Berkley, CA, and London: The University of California Press, 2012), 34. 2 6 . I bid. 2 7 . P a u l G r a v e t t , Manga: Sixty Years of Japanese Comicss (London: Lawrence King 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 Masters Thesis, University of São Paulo (2009). 2 8 . V a l é rie Cools, “The Phenomenology of Contemporary Mainstream Manga,” Image & Narrativee 12:1 (2011), 80. Notes ● 183

29 . Cwerner, “The Times of Migration,” 29. 3 0 . 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. 3 1 . B e n o î t P e e t e r s , Lire la bande dessin é e (Paris: Casterman, 1998), 91. 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 Orientee , 18. 3 4 . R o l a n d B a r t h e s , Camera Lucidaa trans. Richard Howard (New York, NY: Hill and Wang, 1981), 96. 3 5 . I b i d . 3 6 . L e s s e r , Immigration, Ethnicity, and National Identity in Brazill, 77. 3 7 . G i a s s e t t i a n d 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 Solidã o b y 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 Brazill, 32. 3 9 . L e s s e r , Immigration, Ethnicity, and National Identity in Brazill, 154. 4 0 . B e n e dict Anderson, Imagined Communitiess (New York, NY, and London: Verso, 1983), 18. 4 1 . L e s s e r , Immigration, Ethnicity, and National Identity in Brazill, 10. 4 2 . P a u l G i l r o y, The Black Atlantic: Modernity and Double Consciousnesss (New York, NY, and London: Verso, 1993), 7. 4 3 . C r e s s w e ll, “Towards a Politics of Mobility,” 18. 4 4 . G i lroy, The Black Atlantic, 17. 4 5 . I b i d . , 16. 4 6 . I a n C hristie, The Last Machine: Early Cinema and the Birth of the Modern Worldd (London: BBC Educational Developments, 1994), 17. 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. h ttp://g1.globo. com/Noticias/Quadrinhos/0,,MUL756675–9662,00.html [Accessed October 8, 2014]. 4 8 . A l e x a n d r e M a n o e l , “ R e s e n h a H Q B : O catador de batatas e o filho da costureira,” Impulso HQQ, March 2, 2009. h ttp://impulsohq.com/resenha-hqb/ resenha-hqb-o-catador-de-batatas-e-o-filho-da-costureira/ [Accessed October 8, 2014]. 4 9 . T he Barefoot Gen comics were published in the Weekly Shonen Jump maga- zine between 1983 and 1985. 50. T homas Lamarre, “Manga Bomb: Between the Lines of Barefoot Gen,” in Comics Worlds and the World of Comicss ed. Jacqueline Berndt (Kyoto: Kyoto Seika University, 2010), 266. 5 1 . I bid., 272. 5 2 . I bid., 273. 184 ● Notes

5 3 . V a s a n t K a i w a r a n d 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: Duke University 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 Maurí cio de Sousa e a Turma da Mô nica ,” h ttp://www.eca. usp.br/nucleos/nphqeca/agaque/ano2/numero2/artigosn2_1v2.htm [Accessed October 8, 2014]. 2. H e n r y J e n k i n s , Convergence Culture: Where Old and New Media Collidee (New York, NY, and London: New York University Press, 2006), 20. 3 . “ C a boclo” is a term used to refer to people of mixed Indigenous Brazilian and 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”]. “ISTOÉ Entrevista,” by Hé lio Gomes, ISTOÉ , October 28, 2011. 4 . J enkins, Convergence Culturee, 75. 5 . M a u r í c i o de Sousa Produçõ es, Turma da M ô nica Jovem 2: A aventura continú a (S ã o Paulo: Maur í cio de Sousa Produ çõ es, 2008). 6 . K o i c hi 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 R adical Thought in Italy ed. Paolo Virno and Michael Hardt (Minneapolis, MN: University of Minnesota Press, 1996), 133. 8 . I bid. 9 . I bid., 134. 1 0 . M i c hael Hardt and Antonio Negri, Empire (Cambridge, MA, and London, England: Harvard University Press, 2000), 293. 11 . John Kraniauskas, “Empire, or Multitude: Transnational Negri,” Radical Philosophyy 103 (2000), 35. 1 2 . I bid., 357. 1 3 . A n n e A llison, “The Cool Brand, Affective Activism and Japanese Youth,” Theory, Culture & Societyy 26 (2009), 90. 1 4 . T hiam Huat Kam, “The Anxieties that Make the ‘Otaku’: Capital and the Common Sense of Consumption in Contemporary Japan,” Japanese Studies 33:1 (2013), 41. 1 5 . I bid. 1 6 . I bid. 17 . Tiziana Terranova, “Free Labor: Producing Culture for the Digital Economy,” Social Textt 63:18:2 (2000), 34. Notes ● 185

1 8 . I bid., 41. 1 9 . M a u r í c i o de Sousa Produç õ es, Turma da M ô nica Jovem 1: Eles Cresceram!! (Sã o Paulo: Maurí cio de Sousa Produ çõ es, 2008), 97. 2 0 . M a u r í c i o d e S o u s a P r o d u ç õ e s , Turma da Mô nica Jovem 5: As Aventuras do Dia- a-Dia!! (Sã o Paulo: Maurí cio de Sousa Produçõ es, 2008), N/A. 2 1 . M a u r í c i o d e S o u s a P r o d u ç õ e s , Turma da M ô nica Jovem 3: Novos Desafios!! (Sã o Paulo: Maur í cio de Sousa Produ çõ es, 2008), 45. 2 2 . B e t h C o l e m a n , Hello Avatar: Rise of a Networked Generation (Cambridge, MA, and London, England: The MIT Press, 2011), 3–4. 2 3 . M a u r í c i o d e S o u s a P r o d u ç õ e s , 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. 2 4 . I bid., 25. 2 5 . I b i d . , 3 8 . 2 6 . I b i d . , 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) (Sã o Paulo: Maurí cio de Sousa Produçõ es, 2011), 8. 2 8 . T h o m a s L a m a r r e , “An Introduction to Otaku Movement,” EnterTextt 4.1 (2011), 168. 2 9 . I bid., 167. 3 0 . I bid., 181. 31. Azuma Hiroki, “The Animalization of Otaku Culture,” trans. Thomas Lamarre, Mechademia 2: Networks of Desiree ed. Frenchy Lunning (Minneapolis, MN, and London: University of Minnesota Press, 2007), 181. 3 2 . T h i e r r y Groensteen, L’Univers des Mangas: Una Introduction à la Bande Dessin é e Japonaisee (Paris: Casterman, 1991), 47. 3 3 . V a l é rie Cools, “The Phenomenology of Contemporary Mainstream Manga,” Image & Narrativee 12:1 (2011), 71. 3 4 . M a u r í c i o d e S o u s a P r o d u çõ es, Turma da Mô nica Jovem 4: Fortes Emo ções . . . , 47. 3 5 . I b i d . , 68. 3 6 . M a u r í c i o de Sousa Produç õ es, Turma da Mô nica Jovem 3: Novos Desafios!!, 127. 3 7 . I bid. 38. Maur í cio de Sousa Produç õ 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. 4 0 . I bid. 4 1 . L a m a r r e , “An Introduction to Otaku Movement,” 159. 4 2 . I b i d . , 161. 4 3 . W . J . T . M i t c hell, Wh at Do Pictures Want? The Lives and Loves of Images (Chicago, MI, and London: The University of Chicago Press, 2005), 53. 4 4 . I b i d . , 61–68. 45 . Steven Withrow and Alexander Danner, Character Design for Graphic Novels (Hove: RotoVision, 2007), 34. 186 ● Notes

4 6 . T homas Lamarre, The Anime Machine: A Media Theory of Animation (Minneapolis, MN, and London: University of Minnesota Press, 2009), 196. 4 7 . I b i d . , 192. 4 8 . I b i d . , 106. 4 9 . I b i d . 5 0 . In The Plague of Fantasies , Slavoj Ž i ž ek also examines the paradoxical rein- 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 dominates all our lives.” (London: Verso, 2008), 131–132. 5 1 . S o n i a B i de Luyten, Mang á : O poder dos quadrinhos japonesess (S ã o Paulo: Hedra, 2012), 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 Japonaisee (Tourai: Casterman, 1991), 6. 52. I explore these ideas at greater length in chapter 3 . 53. Maur í cio de Sousa Produ çõ es, Turma da Mô nica Jovem 47: Bem-vindos ao Japã o (S ã o Paulo: Maur í cio de Sousa Produ ções, 2012), 24. 5 4 . I bid. 5 5 . I bid., 43. 5 6 . I b i d . , 29. 5 7 . I bid., 15. 5 8 . A n n e A l l i s o n , Millennial Monsters: Japanese Toys and the Global Imagination (Berkeley, CA, and London: University of California Press, 2006), 12. 5 9 . M a u r í c i o de Sousa Produ çõ es, Turma da Mô nica Jovem 47: Bem-vindos ao Jap ã o , 92. 6 0 . I b i d . , 9 5 – 9 6 . 6 1 . I bid., 17. 6 2 . D a n i e l Galera and Rafael Coutinho, Cachalotee (S ã o Paulo: Companhia das Letras, 2010).

3 Ekphrastic Anxiety in Virtual Brazil: Photographing Japan in the Fiction of Alberto Renault 1 . W . J . T . M i t c hell, Picture Theory: Essays on Verbal and Visual Representation (Chicago, MI, and London: The University of Chicago Press, 1994), 151. 2 . I bid., 154. 3 . I bid. 4 . I bid., 155. 5 . I bid., 157. 6 . I bid., 163. 7 . S e e discussion of immaterial labor in chapter 2 . 8 . R é gis Debray, “Remarks on the Spectacle,” New Left Review I 214 (1995), 139. Notes ● 187

9 . I bid., 138. 1 0 . J e a n B a u drillard, “The Ecstacy of Communication,” trans. John Johnston in The Anti-Aesthetic: Essays on Postmodern Culturee (Port Townsend, WA: Bay Press, 1983), 130. 11 . Marcy E. Schwartz and Mary Beth Tierney-Tello have provided a wider account 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 that have been semi-obliterated by official culture.” This strategy is all the more potent 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 in Three Texts from Chile,” in Photography and Writing in Latin America: Double Exposuress eds. Marcy E. Schwartz and Mary Beth Tierney-Tello (Albuquerque, NM: University of New Mexico Press, 2006), 87. 1 2 . P e d r o E r b e r , “ C o n t e m poraneity and Its Discontents,” diacriticss 41:1 (2013), 34. 1 3 . I bid., 36. 1 4 . A l b e r t o R e n a u l t , A foto (Rio de Janeiro: Editora Objetiva, 2003), 22. 1 5 . I bid., 41. 1 6 . I b i d . , 43. 1 7 . I bid., 47. 1 8 . I b i d . , 108. 1 9 . I b i d . , 3 1 . 2 0 . I v a n V a n a t i a n , “ T o kyo, Mon Amour,” in Takashi Homma: Tokyo (New York, NY: Aperture Foundation, 2008), 230–231. 2 1 . I b i d . , 2 3 1 . 2 2 . Johannes Fabian, Time and the Other: How Anthropology Makes its Object (New York, NY: Columbia University Press, 2003), xli. Pedro Erber engages with Fabian’s work in his discussion of “contemporaneity.” 2 3 . A l b e r t o R e n a u l t , Moko no Brasill (Rio de Janeiro: Aeroplano Editora, 2006), 10. 2 4 . I bid., 17. 2 5 . I bid., 48. 2 6 . W . J. T. Mitchell, What Do Pictures Want? The Lives and Loves of Images (Chicago and London: The University of Chicago Press, 2005), 162. 2 7 . I bid. 2 8 . R e y C how, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies (Bloomington and Indianapolis: Indiana University Press, 1993), 59. 2 9 . I bid., 60. 3 0 . K o jin Karatani and Sabu Kohso, “Uses of Aesthetics: After Orientalism,” boundary 2 25:22 (1998), 147. 31 . Pierre Huyghe and Philippe Parreno, “No Ghost Just a Shell,” h ttp://www. mmparis.com/noghost.html, [Accessed December 10, 2013]. 188 ● Notes

3 2 . R e n a u l t , A foto , 6. 3 3 . I bid. 3 4 . I b i d . , 7. 3 5 . I b i d . , 18. 3 6 . L i l i a n e L o u v e l , Poetics of the Iconotextt, ed. Karen Jacobs and trans. Laurence Petit (Farnham: Ashgate Publishing, 2011). 37. In her analysis of Michel Butor’s L a 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 Imagee ed. Rui Carvalho Homem and Maria de Fá tima Lambert (Amsterdam and New York: Rodopi, 2006), 120. 3 8 . R e n a u l t , A foto , 102. 3 9 . I b i d . , 1 0 7 – 1 0 8 . 4 0 . I b i d . , 108. 4 1 . R e n a u l t , Moko no Brasill , 117. 4 2 . Jean Baudrillard, The Intelligence of Evil or the Lucidity Pactt trans. Chris Turner (New York, NY, and Oxford: Berg, 2005), 94. 4 3 . I bid., 94. 4 4 . I bid., 95. 4 5 . I bid., 97. 4 6 . R o l a n d B a r t h e s , Camera Lucidaa trans. Richard Howard (New York, NY: Hill and Wang, 1981), 96. 4 7 . M a r c y 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. 4 8 . I bid., 13. 4 9 . V i l é m F l u s s e r , Towards a Philosophy of Photographyy trans. Anthony Mathews (London: Reaktion Books, 2000), 14. 5 0 . F lusser, quoted in Andy Stafford, Photo-texts: Contemporary French Writing of the Photographic Imagee (Liverpool: Liverpool University Press, 2010), 30. 5 1 . A long 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 in the face of the multiplication of images. Quoted in Andy Stafford, Photo-texts: Contemporary French Writing of the Photographic Imagee (Liverpool: Liverpool University Press, 2010), 30. 5 2 . R e n a u l t , A foto , 5. 5 3 . I bid., 76. 5 4 . R e n a u l t , Moko no Brasill , 60. 5 5 . A l i s o n L a n d s b e r g, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culturee (New York, NY: Columbia University Press, 2004), 1. Notes ● 189

56 . I bid. 5 7 . A n a n di Ramamurthy, “Spectacles and Illusions: Photography and Commodity Culture,” in Photography: A Critical Introduction Third Edition e d. Liz Wells (New York, NY, and London: Routledge, 2004), 229. 5 8 . P a u l J o b l i n g, F ashion Spreads: Word and Image in Fashion Photography Since 1980 (New York, NY, and Oxford: Berg, 1999), 108. 5 9 . I b i d . 6 0 . R e n a u l t , A foto, 43. 6 1 . R e n a u l t , Moko no Brasill , 14. 6 2 . I b i d . 6 3 . I bid., 76. 64 . See Amy M. Spindler, “Tracing the Look of Alienation,” New York Timess , March 2, 1998. 6 5 . R e n a u l t , Moko no Brasill , 86. 6 6 . I b i d . , 121. 6 7 . D a n i e l T o u r o L i n ger, No One Home: Brazilian Selves Remade in Japan (Stanford, CA: Stanford University Press, 2001), 287. 6 8 . J a n e E lliott 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’s O 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 él ia Donovan, B omb 102 (2008), h ttp://bombmagazine.org/ article/3038/ bernardo-carvalho [Accessed October 8, 2014]. 2 . Sanjay Sharma and Ashwani Sharma, “White Paranoia: Orientalism in the Age of Empire,” F ashion Theory 7:3 (2003), 3. 3 . I b i d . , 3. 4 . I b i d . , 7. 5 . I bid. 6 . Liv Sovik, “We are family: Whiteness in the Brazilian media,” Journal of Latin American Cultural Studies 13:3 (2004), 315. 7 . I bid. 8 . S a n t i a g o C a s t r o - G ó m e z , drawing on the work of Walter Mignolo, accuses Empire of Eurocentricism, arguing that rather than bring an end to colonial power, the developments described by Hardt and Negri entail its “postmodern reorganization”: “This imperialistic reorganization of coloniality is the other side (invisible to H/N) that Empire needs for its consolidation.” Santiago Castro-G ó mez “The Missing Chapter of Empire,” Cultural Studiess 21:2–3 (2007), 435. 190 ● Notes

9 . B e r n a r d o C a r v a l h o , Mong ó lia a (S ã o Paulo: Companhia das Letras, 2003), 25. 1 0 . I b i d . , 26. 1 1 . I b i d . , 32. 1 2 . I b i d . , 25. 1 3 . I b i d . , 50. 1 4 . I b i d . , 2 1 . 15 . Michael Hardt, “The Withering of Civil Society,” in D eleuze and Guattari: New Mappings in Politics, Philosophy, and Culturee ed. Eleanor Kaufman and Kevin Jon Heller (Minneapolis, MN and London: University of Minnesota Press, 1998), 36. 1 6 . I n t he story “Los dos reyes y los dos laberintos,” the ultimate labyrinth—“un labirinto tan perplejo y sutil que los varones má s prudentes no se aventuraban a entrar”—is the desert itself. The story pre-empts Hardt in drawing attention to the fact that the proliferation of boundaries and borders paradoxically coincides with their absence. 1 7 . C a r v a l h o , Mong ó lia , 18. 1 8 . I b i d . , 148. 1 9 . I bid., 43. 2 0 . I bid., 115. 2 1 . B e r n a r do Carvalho, O sol se p õ e em S ã o Paulo (S ã o Paulo: Companhia das Letras, 2007), 164. 2 2 . I bid., 97. 23 . T h e t e r m decassé gui i is used to refer to descendants of Japanese immigrants to Brazil who move to Japan in search of work and often return to Brazil again. 2 4 . B e r n a r do Carvalho, “Fiction as Exception,” Luso-Brazilian Revieww 47: 1 (2010), 4. 2 5 . I b i d . , 5 . 2 6 . I bid., 6. 2 7 . I bid., 6–7. 2 8 . I b i d . , 58. 2 9 . M i c hael Hardt and Antonio Negri, E mpire (Cambridge, MA, and London, England: Harvard University Press, 2000), 114. 3 0 . I bid., 136. 3 1 . I b i d . 3 2 . C a r v a lho, O sol se p õ e em S ã o Paulo , 67. 3 3 . I bid., 84. 3 4 . J ean Baudrillard, “On Seduction,” in Selected Writingss ed. Mark Poster (Cambridge: Polity Press, 2001), 156–157. 35 . C a r v a l h o , O sol se põ e em Sã o Paulo , 55. 3 6 . I n i n t e r v i e w s , C a r v a lho has referred to Nove noites, Mongó lia a and O sol se põ e em S ã o Paulo as a trilogy. 3 7 . B e r n a r d o C a r v a l h o , Nove noites (S ã o Paulo: Companhia de Bolso, 2002), 142. 38 . Lidia Santos, “El Cosmopolitismo de Mercado: Del fin de las literaturas nacionales a la cultura de las celebridades (Brasil, Mé 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,” A merican Literary Historyy 18:2 (2006), 366. 4 0 . I b i d. 4 1 . C a r v a l h o , O sol se põ e em Sã o Paulo , 61. 4 2 . I b i d . , 54. 43 . Sharma and Sharma, “White Paranoia: Orientalism in the Age of Empire,” 7. 4 4 . T h o m a s L a m a r r e , Shadows on the Screen: Tanizaki Jun’ichiro on Cinema and “Oriental” Aestheticss (Ann Arbor, MI: Center for Japanese Studies, 2005), 19. 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 various degrees of success, to overcome the boundaries between reality and fantasy, to construct and live in a dream world centered on a siren.” Ibid., 8. 4 6 . C a r v a l h o , 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” Aestheticss , 9. 4 8 . I b i d . , 10. 4 9 . C a r v a l h o , O sol se põ e em Sã o Paulo , 9. 50 . Baudrillard, “On Seduction,” 157. 5 1 . Y u m i ko Iida, R ethinking Identity in Modern Japan: Nationalism as Aesthetics (New York, NY, and London: Routledge, 2002), 7. 5 2 . M i c h e l M a f f e s o l i , The Time of Tribes: The Decline of Individualism in Mass Society trans. Don Smith (London: Sage Publications, 1996), 11. 5 3 . I b i d . , 27. 5 4 . D a v i d P o l l a c k , Reading Against Culture: Ideology and Narrative in the Japanese Novell (Ithaca, NY, and London: Cornell University Press, 1992), 6. 5 5 . D o n a l d K e e n e , A History of Japanese Literature, Volume 3: Dawn to the West: Japanese Literature of the Modern Eraa (New York, NY: Columbia University Press, 1998), 507. 5 6 . P o llack, Reading Against Culturee, 81. 5 7 . J u n i c h i r o T a n i z a k i , q u o t e d i n K e e n e , A History of Japanese Literature, Volume 3 , 754. 5 8 . H a r r y H a r o o t u n i a n , O vercome by Modernity: History, Culture, and Community in Interwar Japan (Princeton, NJ, and Oxford: Princeton University Press, 2000), x. 5 9 . I bid., xxvi. 6 0 . L u í s A u g u s t o F i s c her, “Letras em nú meros: O que as estatí sticas dizem sobre a ‘Granta’,” Folha de S ã o Paulo , Semptember 2, 2012. 6 1 . M i c hel Laub, “O boom do ego,” Bl og da Companhia, September 12, 2012. http://www.blogdacompanhia.com.br/2012/09/o-boom-do-ego/ [Accessed October 8, 2014]. 62 . Sharma and Sharma, “White Paranoia: Orientalism in the Age of Empire,” 9. 6 3 . C a r v a l h o , O sol se põ e em Sã o Paulo , 26. 6 4 . I bid., 28. 6 5 . I bid., 143. 66 . In chapter 6 , I will discuss the role played by Shindo Renmei in the 2011 film Cora çõ es sujoss. 192 ● Notes

67 . Mart í n Camps, “Travel and Japanese Migration to Brazil in O sol se põe em São Paulo,” in Peripheral Transmodernities: South-to-South Intercultural Dialogues between the Luso-Hispanic World and “the Orient”” ed. Ignacio Ló pez-Calvo (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2012), 215. 6 8 . I b i d. 6 9 . M a r i l y n I v y , 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 . I bid. 3 . G o n z a lo Aguilar, Poes í a concreta brasile ñ a: Las vanguardias en la encrucijada modernista (Rosario: Beatriz Viterbo Editora, 2003), 209. 4 . Haroldo de Campos, “Paulo Leminski,” in A linha que nunca termina: Pensando Paulo Leminski e d. André Dick and Fabiano Calixto (Rio de Janeiro: Lamparina Editora, 2004), 25. 5 . Haroldo de Campos, “Paulo Leminski,” in Capric hos e relaxos (Sã 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 1950–19600 ed. Augusto de Campos, Dé cio Pignatari, and Haroldo de Campos (Sã o Paulo: Ateli ê Editorial, 2006), 193. 7 . F lora Sü sse kind, Literatura e vida literá ria: Polê micas , di á rios & retratos (Belo Horizonte: Editora UFMG, 2004), 117. 8 . P a u lo Leminski, Caprichos e relaxoss (S ã o Paulo: Editora Brasiliense, 1983), 57. Polonaisess was amalgamated and re-printed in the later 1983 collection Caprichos e relaxoss. 9 . S ü s s e kind, Literatura e vida liter á ria , 119 and 118. 1 0 . A m o n g t he 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 paí s de haicais” [“sow the country with haikais”], and his disciple Hidekazu Masuda Goga (1911–2008), who along with other Paulista poets, developed a version of the traditional Japanese haiku in the Portuguese language. Paulo Franchetti, “O Haikai no Brasil,” Aleaa 10:2 (2008), 267. 1 1 . P a u lo Prado, “Poesia Pau Brasil,” in Oswald de Andrade, Pau Brasill (S ã o Paulo: EdUSP Imprensa Oficial, 2004), 10. 1 2 . P a u lo Leminski, “Bonsai: Niponiza çã o e miniaturiza çã o da poesia brasileira,” in Ensaios e anseios cr í pticoss (Campinas: Editora Unicamp, 2011), 327. Notes ● 193

1 3 . A u g u s t o de Campos, “pontos-periferia-poesia concreta,” in T eoria da Poesia Concreta: Textos crí ticos e manifestos 1950–19600, 37 (S ã o Paulo: Ateli ê Editorial, 2006). 1 4 . I b i d. 15 . Haroldo de Campos, “Fenollosa Revisitado: Prefá cio à 3a Ediçã 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,” in Ideograma: L ó gica, Poesia, Linguagem (S ã o Paulo: EdUSP, 1995 [1977]), 53. 1 7 . A g u i l a r , Poesí a concreta brasileñ a , 34. 1 8 . de Campos, “Fenollosa Revisitado: Pref á cio à 3a Edi çã o,” 18. 1 9 . I bid. 2 0 . I b i d . 2 1 . I bid., 19. 2 2 . E r i c H a y o t , Chinese Dreams: Pound, Brecht, Tel quell (Ann Arbor, MI: The 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. 2 4 . I bid., 217. 2 5 . P a u l o L e m i n s k i , Uma carta uma brasa atrav é s: Cartas a R é gis Bonvicino (1976– 1981) (S ã o Paulo: Iluminuras, 1992), 36. 2 6 . I b i d . , 37. 27 . Leminski, “O sonho acabou. Vamos bater mais uma,” in Ensaios e anseios crí p - ticos (Campinas: Editora Unicamp, 2011), 63. 2 8 . C harles A. Perrone, Seven Faces: Brazilian Poetry Since Modernism (Durham, NC, and London: Duke University Press, 1996), 118. 2 9 . P a u lo Leminski, “Bash ô : A L á grima do Peixe,” in Vidass (Porto Alegre: Editora Sulina, 1990), 71. 3 0 . T . S . E l i o t , “Introduction,” in Ezra Pound, Selected Poemss (London: Faber & Gwyer, 1928), 14. 3 1 . L e m i n s ki, “Bash ô : A L á grima do Peixe,” 86. 3 2 . I bid., 88. 3 3 . I b i d . 3 4 . I bid., 90. 3 5 . I bid. 3 6 . L e m i n s ki’s poetic fantasy about the Japanese language is reminiscent of that of Roland Barthes in L’Empire des Signess. Barthes describes his encounter with Japanese 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 ré cup é r é e par la socialité superficielle du langage [ . . . ] conna î tre, r é fract é s pos- itivement dans une langue nouvelle, les impossibilité s de la nô tre” [“without that difference ever being recuperated by the superficial sociality of the language [ . . . ] encounter the impossibilities of our language refracted positively in another”]. (Genè ve: Albert Skira É diteur, 1970), 13. 194 ● Notes

3 7 . L e m i n s ki, “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, “une immense pratique destiné e à arrê ter le langage” [“an immense practice fated to arrest language”]. L’Empire des Signess, (Albert Skira É diteur, 1970), 99. 38 . Antonio Ris é rio, “O vampiro el é trico de Curitiba,” in A linha que nunca termina: Pensando Paulo Leminskii ed. André Dick and Fabiano Calixto (Rio de Janeiro: Lamparina Editora, 2004), 368. 39 . Leminski, “Bash ô : A L á grima do Peixe,” 107. 40. Haroldo de Campos, “Haicai: Homenagem à sí ntese,” in A arte no horizonte do prov á vel e outros ensaios (S ã o Paulo: Edit ô ra Perspectiva, 1969), 56. 4 1 . P a u lo Leminski, “O Boom da poesis f á cil,” in Ensaios e anseios crí ptico s (Campinas: Editora Unicamp, 2011), 63. 4 2 . I b i d . , 6 1 . 4 3 . I b i d . 44 . de Campos, de Campos, and Pignatari, “plano-piloto para poesia concreta,” 218. 4 5 . L e m i n s k i , Uma carta uma brasaa atrav é s, 44. 4 6 . I bid., 60. 4 7 . L e m i n s ki, quoted in Ris é rio, “O vampiro el é trico de Curitiba,” 363. 4 8 . L e m i n s ki, Uma carta uma brasa atrav é s, 69. 4 9 . T h e s u ggestion 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 little poetry . . . ”]. “Teses, Tesõ es,” in Ensaios e Anseios Cr í pticoss, 17. 50. Adalberto Mü ller, “Make it news: Leminski, cultura e mí dia,” in A pau a pedra a fogo a pique: Dez estudos sobre a obra de Paulo Leminskii ed. Marcelo Sandmann (Curitiba: Governo do Estado do Paraná , 2010), 21. 5 1 . L e m i n s ki, Caprichos e relaxoss, 138. 5 2 . L e m i n s ki, Uma carta uma brasaa atrav é s, 40. 5 3 . I b i d . , 40–41. 5 4 . L e m i n s ki, “Bash ô : A L á grima do Peixe,” 126. 5 5 . A g u i lar, Poes í a concreta brasile ñ a , 245. 5 6 . N o r bert Wiener, The Human Use of Human Beings: Cybernetics and Society (Boston, MA: Da Capo Press, 1988 [1954]), 95. 5 7 . D é c i o P i g n a t a r i , Informa çã o, Linguagem, Comunica çã o (Sã o Paulo: Editora Cultrix, 1968), 16. 5 8 . I bid., 15. 5 9 . I bid., 14–15. 6 0 . N . K a t h a r i n e H a yles, How We Became Posthuman (Chicago, MI, and London: University of Chicago Press, 1999), 86. 6 1 . P a u l P a t t o n , Deleuze and the Politicall (New York, NY: Routledge, 2000), 48. 62 . Leminski, “Click: Zen e a arte da fotografia,” in Ensaios e anseios cr í pticos (Campinas: Editora Unicamp, 2011), 141. 6 3 . I bid., 141. Notes ● 195

6 4 . I bid. 6 5 . T he 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 I consulted 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. 6 6 . P e r r o n e , Seven Facess , 138. 6 7 . P a u l o L e m i n s k i a n d Jack Pires, Quarenta clics em Curitibaa (Curitiba: Editora etcetera, 1990 [1976]). 6 8 . I b i d . 6 9 . L e m i n s k i a n d P i r e s , Quarenta clics em Curitiba , N/A. 7 0 . I bid. 7 1 . R o s i B r a i dotti, The Posthuman (Cambridge: Polity, 2013), 37. 72 . I b i d . 7 3 . I b i d . , 53. 7 4 . R i s é r i o , “ O v a m piro el é trico de Curitiba,” 369. 7 5 . L e m i n k s i , Caprichos e relaxoss, 137. 76 . Le m i n s k i , “ E s t a d o , M e r c a d o . Q u e m m a n d a n a a r t e ? ” i n E nsaios e anseios cr íp- ticoss (Campinas: Editora Unicamp, 2011), 63. 7 7 . L e m i n ksi, Caprichos e relaxoss, 136. 7 8 . J ane Naomi Iwamura, V irtual Orientalism: Asian Religions and American Popular Culturee (New York, NY: Oxford University Press, 2011), 36. 7 9 . B e r n a r d Stiegler, Technics and Time II: Disorientation trans. Stephen Barker (Stanford, CA: Stanford University Press, 2009), 61. 8 0 . I b i d . 8 1 . I bid. 8 2 . P a u lo Franchetti argues that, in the context of digital culture, concrete poetry’s project of “absorbing” technology into its field of references becomes an increasingly hopeless challenge. He describes the melancholic experience of watching Augusto’s clip-poemas s such as “cidadecitycit é ” (1999) and “sos” (2000), the slowness of which contrasts with the speed of high-tech music videos, as evidence of concrete poetry’s inability to reproduce the connection between “té cnica liter á ria de vanguarda e t é cnica tecnol ó gica” it claimed to achieve 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 utó 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 without reinforcing a sense of humanism. Paulo Franchetti, “Poesia e té cnica— Poesia Concreta,” Paulo Franchetti: artigos, resenhas, textos iné ditos s (2013), N/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 . h t t p://ims.com.br/ims/explore/artista/haruo-ohara [Accessed October 8, 2014]. 2 . Luciana Martins, P hotography and Documentary Film in the Making of Modern Brazill (New York, NY, and Manchester: Manchester University Press, 2013), 111. 3. Marianne Hirsch, Family Frames: Photography, Narrative, and Postmemory (Cambridge, MA, and London: Harvard University Press, 1997), 197. 4 . R o land Barthes, “Rhetoric of the Image,” in Image—Music—Textt trans. Stephen Heath (New York, NY: Hill and Wang, 1977), 47. 5 . I b i d . 6 . I b i d . 7 . M a r y Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archivee (Cambridge, MA, and London: Harvard University Press, 2002), 3–4. 8 . I b i d . , 24. 9 . I bid., 2–3. 1 0 . I discuss this photograph of corn later in the chapter. 1 1 . G i lles Deleuze, Cinema II: The Time Imagee trans. Hugh Tomlinson (London: Continuum, 2005 [1985]), 16. 1 2 . J e n s A n dermann, “Expanded Fields: Postdictatorship and the Landscape,” Journal of Latin American Cultural Studiess 21:2 (2012), 172. 1 3 . I bid., 178. 1 4 . I bid. 1 5 . I bid. 1 6 . I b i d . , 180. 1 7 . B e a t r i z J a g u a r i be and Maurí cio Lissovsky, “The Visible and the Invisibles: Photography and Social Imaginaries in Brazil,” Public Culturee 21:1 (2009), 176. 1 8 . I bid., 178–179. 1 9 . N i c holas 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. 2 0 . I bid., 205. 2 1 . I bid. 22 . Here, Mirzoeff draws on Stuart Hall’s article “Cultural Identity and Diaspora,” in Identity: Community, Culture, Differencee ed. Jonathan Rutherford (London: Lawrence and Wishart, 1990). 2 3 . M i r z o e ff, “The Multiple Viewpoint: Diaspora and Visual Culture,” 209. 2 4 . A lan Tansman, T he Aesthetics of Japanese Fascism (Berkeley, CA, and London: University of California Press, 2009), 1. 2 5 . H a ll, “Cultural Identity and Diaspora,” 235. Notes ● 197

2 6 . I bid. 2 7 . I bid., 226. 2 8 . J a guaribe and Lissovsky, “The Visible and the Invisibles: Photography and Social Imaginaries in Brazil,” 202. 2 9 . M a r c o s L o s n a k a n d R o g é rio Ivano, Lavrador de imagens: Uma biografia de Haruo Oharaa (Londrina: 2003), 65. 3 0 . M a r t i n s , Photography and Documentary Film in the Making of Modern Brazill, 119. 3 1 . L o s n a k a n d I v a n o , Lavrador de imagenss, 160. 32 . David Campany, “Posing, Acting, Photography,” in Stillness and Time: Photography and the Moving Imagee ed. David Green and Joanna Lowry (Brighton: Photoforum, 2006), 107. 33 . Craig Owens, quoted in Campany, “Posing, Acting, Photography,” 107. 3 4 . C a m p a n y , “ P o s i n g, Acting, Photography,” 103–106. 3 5 . N a n c y L e y s S t e pan, Picturing Tropical Naturee (London: Reaktion Books, 2001), 29. 3 6 . I b i d . , 21. 3 7 . S a m u e l 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 “sob a é gide da modernidade” [“under the aegis of modernity”]. Samuel Titan Jr., “Quatro Fot ó grafos da Vida Moderna: Brasil, 1940–1964,” in Modernidades fotográ ficas: 1940–19644 ed. Ludger Derenthal and Samuel Titan Jr. (Rio de Janeiro: Instituto Moreira Salles, 2014), 13. 38 . Sergio Burgi, “Haruo Ohara no acervo do Instituto Moreira Salles,” in H aruo Ohara: Fotografiass ed. Sergio Burgi (Rio de Janeiro: Instituto Moreira Salles, 2008), 3. 3 9 . I bid. 4 0 . I bid., 5. 41 . Jacques Ranciè re, “Notes on the Photographic Image,” trans. Darian Meacham, Radical Philosophyy 156 (2009), 9. 4 2 . I bid., 13. 4 3 . I bid., 15. 4 4 . I b i d . 4 5 . N a t a lia Brizuela, F otografia e impé rio: Paisagens para um Brasil moderno (Sã o Paulo: Companhia das Letras, 2012), 97. 4 6 . I bid., 96. 4 7 . I bid., 95. 48 . Marcos S á Correia, “A fra çã o de segundo e a hist ó ria,” in Haruo Ohara: Fotografiass ed. Sergio Burgi (Rio de Janeiro: Instituto Moreira Salles, 2008), 9. 4 9 . G e o f f r e y Batchen, Forget Me Not: Photography & Remembrancee (New York, NY: Princeton Architectural Press, 2004), 12. 5 0 . M artins, Photography and Documentary Film in the Making of Modern Brazill, 125. 198 ● Notes

Afterword 1 . R o drigo Grota, “Em busca de uma falsa luz,” ZUN Á I: Revista de poesia e debates 15 (2008), http://www.revistazunai.com/materias_especiais/cinema/rodrigo_grota_em_busca_de_uma_falsa_luz.htm [Accessed October 8, 2014]. 2 . I bid. 3 . T he 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. The original French version of the title included an ellipsis after the “vie,” a punctuation mark to which Giorgio Agamben, in his discussion of the piece, attaches considerable importance. “Absolute Immanence,” Giorgio Agamben, Potentialitiess trans. Daniel Heller-Roazen (Stanford, CA: Stanford University Press, 1999), 220–239. 5 . I b i d . , 28. 6 . I bid. 7 . I bid., 31. 8 . B i l l N i c h o l s , Introduction to Documentary: Second Edition (Bloomington and Indianapolis, IN: Indiana University Press, 2010), 194. Works Cited

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Agamben, Giorgio, 198n4 Caligrammes, 124 Aguilar, Gonzalo, 120, 124–6, 135 Campany, David, 163 Allison, Anne, 6, 52–3, 69 de Campos, Augusto, 119–20, 124–5 Amorim, Vicente, 154 de Campos, Haroldo, 119–20, 125–7 Andermann, Jens, 153 Camps, Martín, 118 Anderson, Benedict, 36 Carri, Albertina, 153 de Andrade, Mário, 75–6 carte de visite, 155 de Andrade, Oswald, 123 Castro-Gómez, Santiago, 189n8 Apollinaire, Guillaume, 124 O catador de batatas e o filho da Appadurai, Arjun, 2 costureira, 32–45 Apter, Emily, 109 Chow, Rey, 14, 82 autofição, 105–6, 115–17 Christie, Ian, 42 Azuma, Hiroki, 59–60, 63 Clark, Lygia, 139 Clifford, James, 180n56 Bakhtin, Mikhail, 41 Coleman, Beth, 55 Barthes, Roland, 31–2, 88, 150, Cools, Valérie, 30, 60 193n36, 194n37 Corações sujos, 154–60 Basho, Matsuo, 120, 128–9 Correia, Marcos Sá, 168 Batchen, Geoffrey, 168–9 Costa, Lúcio, 131 Baudrillard, Jean, 74–5, 87–8, 108, Coutinho, Rafael, 71 113 Cresswell, Tim, 20 becoming-minor, 136 Cronenberg, David, 14 Bergson, Henri, 152 cute aesthetic, 27 Blade Runnerr, 3 Cwerner, Saulo, 28 Bonvicino, Régis, 127 cyberpunk, 3 Bowlby, Rachel, 24 Braidotti, Rosi, 15, 140 Debray, Régis, 74–5 Brizuela, Natalia, 167–8 Deleuze, Gilles, 12, 30, 44, 102, 152, Bryant, Anthony and Pollock, 173–4 Griselda, 14 Deleuze, Gilles and Guattari, Félix, Bukatman, Scott, 29 136–7 Burgi, Sergio, 164 Deus e o diabo na terra no soll, 41 Bushido, 159 Dezem, Rogério, 179n30 212 ● Index

The Dharma Bums, 121, 142–3 Holy Avengerr, 31 Dick, Philip K., 3 Homma, Takashi, 79–81 Disney, 47 Hora, Maurício, 160 Do Androids Dream of Electric Sheep??, 3 Huyghe, Pierre and Parreno, Doane, Mary Ann, 28–9, 150–1 Philippe, 83 Dussel, Enrique, 7 Hwang, David Henry, 14 ekphrasis, 74, 85–8 I novel, 114–15 Eliot, T. S., 129 ideogram, 121–7 Elliot, Jane and Attridge, Derek, 15–16 Idoru, 83 Erber, Pedro, 76, 81 Iida, Yumiko, 113 immaterial labor, 51–3, 61–3 Fabien, Johannes, 81 In Praise of Shadows, 10, 104–5, 111–12 de Faria Cavalheiro, Renato, 182n27 Ivy, Marilyn, 118 Farkas, Thomaz, 164 Iwamura, Jane Naomi, 143, 181n66 Fawcett, Fausto, 4 Fenollosa, Ernest, 120, 125 Jaguaribe, Beatriz and Lissovsky, Ferrez, Marc, 161 Maurício, 155, 160 Fischer, Luís Augusto, 115 “Japan panic,” 5 Flusser, Vilém, 88–9 Japonism, 82–3 Foster, Thomas, 5, 66 Jenkins, Henry, 19, 22–3, 48 Franchetti, Paulo, 123, 192n10, 195n82 Jobling, Paul, 92 Freyre, Gilberto, 10 Kaiwar, Vasant and Mazumdar, Gaijin, 94 Sucheta, 18 Galera, Daniel, 71 Kam, Thiam Huat, 53 Garcia Lopes, Rodrigo, 171 Kaplan, Caren, 20 Gautherot, Marcel, 164 Karouac, Jack, 121, 142–3 Gibson, William, 3, 83 Kasato Maru, 32–4, 38–9 Gilroy, Paul, 38, 41 kawai aesthetic, 27 Gravett, Paul, 29 Keene, Donald, 114 Groensteen, Thierry, 60, 186n51 Kojin, Karatani and Kohso, Sabu, 82 Grosz, Elizabeth, 12, 179n43 Kossoy, Boris, 167 Grota, Rodrigo, 147, 171–6 Kraniauskas, John, 52 Kuniyoshi, Celina, 179n30 haiku, 121–4, 127 Kushigan, Julia, 7 Hall, Stuart, 159, 196n22 Hardt, Michael, 102 Lagerwell, Sonia, 188n37 Hardt, Michael and Negri, Antonio, Lamarre, Thomas, 10–11, 13, 16, 13, 52, 59, 98, 106 43–4, 59, 63–4, 65–6, 112 Harootunian, Harry, 115 Landsberg, Alison, 26, 91 Haruo Ohara, 147–54 Laub, Michel, 116 Hayles, N. Katherine, 136 Lazzarato, Maurizio, 51–2 Hayot, Eric, 126 Lesser, Jeffrey, 3, 21, 32, 34, 36, Hirsch, Marianne, 148 183n39 Index ● 213

Linger, Daniel Touro, 94 paranoia, 108–9 López-Calvo, Ignácio, 7 participant poetry, 130 Los rubios, 153 Patton, Paul, 136–7 Losnak, Marcos and Ivano, Rogério, 161 Paz, Octavio, 119–20 Louvel, Liliane, 85 Peeters, Benoît, 31 Luyten, Sônia, 67 Perrone, Charles, 128, 138 Pignatari, Décio, 119, 135–6 Maciel, Maria Esther, 119 Pires, Jack, 137 Maffesoli, Michel, 113 Pokémon, 6 manga, 13–14, 16, 29–31, 43–4, Pollack, David, 114 48–50, 59–60, 65–7, 71 posthumanism, 14, 121–2, 135–42 Manoel, Alexandre, 43 Pound, Ezra, 120, 125, 129 marginal cinema, 142 Power Rangers, 6, 69 marginal poetry, 130–1 Prado, Paulo, 123 Marker, Chris, 3, 77 Preston, Robert S., 29–30 Martins, Luciana, 147–8, 161 Masiello, Francine, 178n26 Quarenta clics em Curitiba, 137–8 Massumi, Brian, 179n44 Maus, 27 Ramamurthy, Anandi, 91 McCloud, Scott, 43 Ramos, Paulo, 177n2 Mirzoeff, Nicholas, 157 Rancière, Jacques, 166 Mitchell, W. J. T., 64, 67, 74, 82 Resende, Livia, 9 mobility, 20 Risério, Antonio, 130, 140 modernist photography, 164 Rocha, Glauber, 41 Morley, David and Robbins, Kevin, Ruiz, Alice, 133 5, 69 Morooka, Celso, 12 Said, Edward, 4, 15 Mukai, Shutaro, 126 Salomão, Waly, 137 Müller, Adalberto, 133–4 “Samurai errante,” 1–2 Murakami, Takashi, 13, 27 Santos, Lidia, 108–9 Satori Uso, 171–6 Nakamura, Lisa, 4, 11 Schwartz, Marcy E. and Tierney-Tello, Nara, Yoshitomo, 27 Mary Beth, 187n11 Neuromancerr, 3–5, 83 Schwarz, Roberto, 143 Ngai, Sianne, 27 Scott, Ridley, 3 Nichols, Bill, 174 Sganzerla, Rogério, 142 Nitobe, Inazo, 159 Sharma, Sanjay and Sharma, Ashwani, Niu, Greta Aiyu, 177n13 98 “No Ghost Just a Shell,” 83 Sheller, Mimi and Urry, John, 20 No Japão, 7–8 Shimamoto, Júlio, 182n9 Shindo Renmei, 8–9, 23–4 Oliveira, André Luiz, 142 Shishosetsu, 114–15 de Oliveira Lima, Manuel, 7–8 Snyder, Gary, 121 otaku, 13, 16, 49–53, 56–7, 61–3 society of control, 102 Ozu, Yasujiro, 4, 152 Some Prefer Nettles, 114 214 ● Index de Sousa Santos, Boaventura, “Tokyogaqui,” 1, 19 11, 16 transmedia, 48–9 Sovik, Liv, 98 Turma da Mônica Jovem, 1–2 Spiegelman, Art, 27 Spindler, Amy M., 189n64 Urry, John, 182n7 Stafford, Andy, 188n51 Stepan, Nancy Leys, 15, 164 Vanatian, Ivan, 80–1 Stiegler, Bernard, 143–4 Vejmelka, Marcel, 180n57 Süssekind, Flora, 121–2, 137 O vento do Oriente, 23–31 Suzuki, D. T., 143 Vergueiro, Waldomiro, 47

Takeuchi, Marcia, 9 Waldman, Berta, 14 Tanizaki, Junichiro, 10–11, 104–5, Wenders, Wim, 4, 77 107, 110–12 Wiener, Norbert, 135–6 Tansman, Alan, 158 Withrow, Steven and Danner, “techno-orientalism,” 4–5, 11 Alexander, 65 Terranova, Tiziana, 53, 62 Tezuka, Osamu, 29 Yamasaki, Tizuka, 94 Tinajero, Araceli, 178n26 Titan Jr., Samuel, 197n37 Žižek, Slavoj, 186n50 Tokyo-Ga, 4, 77 Ziraldo, 182n9