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The aim here is to read Krenak’s movement between worlds based on the observation of his performance in the media and institutional spaces, such as his entry into the Brazilian Academy of Letters. Through the essay and the notion of person-poetry, the anthropophagic methodology is used, with the critical and comprehensive reading of his work in relation to other references. A dialogical movement was made when thinking about the person-poetry based on Krenak’s philosophy and about the expression of his philosophy and political action. It is concluded that poetry in Krenak is an ontological condition, life itself that manifests in the body, in words and in political action and allows him to develop his performance. Resumo: Objetiva-se aqui fazer uma leitura do movimento entre mundos de Krenak a partir da observação de sua performance nas mídias e espaços institucionais, a exemplo de seu ingresso na Academia Brasileira de Letras. Por meio do ensaio e da noção de pessoa-poesia, utiliza-se a metodologia antropofágica, com a leitura crítica e compreensiva de sua obra na relação com outros referenciais. Foi feito um movimento dialógico ao se pensar a pessoa-poesia a partir da filosofia de Krenak e, ao mesmo tempo, a expressão de sua filosofia e ação política. Conclui-se que a poesia em Krenak é uma condição ontológica, a própria vida que se manifesta no corpo, na palavra e na ação política e lhe permite desenvolver sua performance. Résumé: L’objectif ici est de faire une lecture du mouvement de Krenak entre les mondes en observant ses performances dans les espaces médiatiques et institutionnels, telle que son entrée à l’Académie Brésiliennes des Lettres. À travers l’essai et la notion de personne-poésie, la méthodologie anthropophage est utilisée, en faisant une lecture critique de son œuvre articulée à d’autres références. Un mouvement dialogique a été fait entre la personne-poésie basée sur la philosophie de Krenak et l’expression de sa philosophie et de son action politique. Pour conclure, la poésie chez Krenak est une condition ontologique manifestée dans le corps, les mots et l’action politique lui permettant de développer sa performance.

ABSTRACT – Anthropophagic-Perspectivistic Poetics for a Re-Vision of the Brazilian Theater: the scene of origin – This text presents a plan of construction of a Poetics, whose purpose is to effect a Re-Vision, in five key moments, of the Brazilian Theater. To do this, we seek to establish a scene of origin, outlined after the meeting – impregnated with attraction and repulsion – that takes place in Brazil, from the sixteenth century, between Amerindian and European civilizations. Two metaphysics and forms of expression thus form the intensive and pantheatrical basis of a Poetics that projects a notion of Brazilian theater in a constant state of struggles of perspectives, symbolized, in its origins, by two anthropophagic mouths interdevouring: the mercantilist Christian Eucharist and the Amerindian cosmopolitical.

Spanning myth, history, and contemporary culture, a terrifying and illuminating excavation of the meaning of cannibalism. Every culture has monsters that eat us, and every culture repels in horror when we eat ourselves. From Grendel to medieval Scottish cannibal Sawney Bean, and from the Ghuls of ancient Persia to The Texas Chainsaw Massacre, tales of being consumed are both universal and universally terrifying. In this book, Kevin J. Wetmore Jr. explores the full range of monsters that eat the dead: ghouls, cannibals, wendigos, and other beings that feast on human flesh. Moving from myth through history to contemporary popular culture, Wetmore considers everything from ancient Greek myths of feeding humans to the gods, through sky burial in Tibet and Zoroastrianism, to actual cases of cannibalism in modern societies. By examining these seemingly inhuman acts, Eaters of the Dead reveals that those who consume corpses can teach us a great deal about human nature—and our deepest human fears.

This article explores the decolonizing potential of anthropophagic parody in A décima segunda noite (2006), by Luis Fernando Verissimo, a novel that reimagines Shakespeare’s Twelfth Night through Oswald de Andrade’s concept of cultural anthropophagy. By transposing the play into a Brazilian setting, the novel subverts the hierarchical centrality of Shakespeare in the Western canon. The parrot-narrator, Henri, embodies this process by mimicking and distorting Shakespeare’s text in a carnivalesque dialogue that both honors and critiques its source. Engaging with post-colonial and literary theorists such as Walter Mignolo and Linda Hutcheon, the article argues that anthropophagic parody enacts epistemic disobedience, allowing a Brazilian writer to appropriate and reconfigure Shakespeare’s legacy. Through linguistic, narrative, and thematic disruptions, A décima segunda noite illustrates how anthropophagic parody can dismantle colonial epistemologies, demonstrating the subversive potential of Brazilian literature to engage critically with global cultural traditions while asserting its own creative agency. Este artigo investiga o potencial decolonizador da paródia antropofágica em A décima segunda noite (2006), de Luis Fernando Verissimo, um romance que reimagina Noite de Reis, de William Shakespeare, a partir do conceito de antropofagia cultural de Oswald de Andrade. Ao transpor a peça para um contexto brasileiro, a obra subverte a centralidade hierárquica de Shakespeare no cânone ocidental. O narrador-papagaio, Henri, encarna esse processo ao mimetizar e distorcer o texto shakespeariano em um diálogo carnavalesco que, ao mesmo tempo, homenageia e critica sua fonte. Dialogando com teóricos pós-coloniais e da literatura como Walter Mignolo e Linda Hutcheon, o artigo argumenta que a paródia antropofágica opera como um ato de desobediência epistêmica, permitindo que um escritor brasileiro se aproprie e reconfigure o legado de Shakespeare. Por meio de rupturas linguísticas, narrativas e temáticas, A décima segunda noite demonstra como a paródia antropofágica pode desmantelar epistemologias coloniais, evidenciando o potencial subversivo da literatura brasileira para se engajar criticamente com tradições culturais globais e afirmar sua própria agência criativa.

Monsters can be divided into two categories: human-like and non-human. Non-human monsters tend to be chthonic beings that are associated with the earth and natural forces. Humanoid monsters represent metaphorical transformations of humanity itself, and as such reveal basic cultural values, such as sociability, while displaying their opposite. Humanoid monsters are the more terrifying, precisely because we recognize ourselves in them, although in an uncanny refraction. In the epic poem and in myth and ritual of the Kwakiutl and Heiltsuk cultures of the Northwest Coast, manlike monsters play a central role.

The article analyzes the only audio record (1968) of Torquato Neto, which points out, in dialogue with the experimental context of Tropicália (Süssekind, 2007), another point of view to rethink the creations and studies related to the so-called popular cultures, since such manifestations are almost always circumscribed exclusively to the field of Folklore. Starting from the relation between local and global (Anjos, 2005) and the concept of anthropophagy as a mechanism for proposing a Brazilian art that would incorporate both foreign and national myths, it is discussed the poetic project of non-folklorizing the popular, as Torquato says.

El prefacio de La maravillosa vida breve de Óscar Wao (2007) de Junot Díaz presenta a Galactus, llamado el “devorador de mundos” en Marvel, como pista de lectura inquietante. Su presencia impulsa a este artículo a leer las dinámicas coloniales, sociales y narrativas dentro de la obra desde los actos de devorar y ser devorado; centrales a las tradiciones caníbales artísticas e históricas del Caribe. Estos apetitos narrativos permitirán rescatar y contrastar imaginarios de resistencia literaria creados por Óscar Wao, así como aquellos de devoración deshumanizante heredados por la colonización, el trujillato y el narrador mismo de la obra.

The eating of the corpses of fellow crew members has been a survival strategy for shipwrecked sailors for centuries. In this paper I ask whether we can see any traces of this practice in the Odyssey. I find them in the structure of the episode of the cattle of the sun on Thrinacia, in the cannibalistic undertones and drawing of lots on Circe's island, Aeaea, and in the trope of human sacrifice to obtain fair winds, suggested by Menelaus's experiences on Pharos and the death of Elpenor. These traces reflect the anxieties of an early seafaring culture, illuminate the Odyssey's most famous anthropophage, the Cyclops, and suggest an allusive relationship between the Odyssey text and ancestral narratives of survival cannibalism.

InTaming Cannibals, Patrick Brantlinger unravels contradictions embedded in the racist and imperialist ideology of the British Empire. For many Victorians, the idea of taming cannibals or civilizing savages was oxymoronic: civilization was a goal that the nonwhite peoples of the world could not attain or, at best, could only approximate, yet the \"civilizing mission\" was viewed as the ultimate justification for imperialism. Similarly, the supposedly unshakeable certainty of Anglo-Saxon racial superiority was routinely undercut by widespread fears about racial degeneration through contact with \"lesser\" races or concerns that Anglo-Saxons might be superseded by something superior-an even \"fitter\" or \"higher\" race or species. Brantlinger traces the development of those fears through close readings of a wide range of texts-includingRobinson Crusoeby Daniel Defoe,Fiji and the Fijiansby Thomas Williams,Daily Life and Origin of the Tasmaniansby James Bonwick,The Descent of Manby Charles Darwin,Heart of Darknessby Joseph Conrad,Culture and Anarchyby Matthew Arnold,Sheby H. Rider Haggard, andThe War of the Worldsby H. G. Wells. Throughout the wide-ranging, capacious, and richTaming Cannibals, Brantlinger combines the study of literature with sociopolitical history and postcolonial theory in novel ways.

A problem of particular concern in the literature on animistic systems is the status of hunting and food consumption in societies whose ontology is not founded upon a distinction between humans and animals. If animals are people, how can one distinguish between everyday eating and cannibalism? Commensality is a vector for producing kinship among humans, a mechanism which depends on the transformation of the animal prey into an object devoid of intentionality. Indigenous techniques for desubjectivizing prey are based on a specific conception of the person that is not reducible to a simple body‐and‐soul dualism. A new theoretical formulation for this partibility sheds light on warfare and funerary anthropophagy in Amazonia.