| Journal: | Afro-Asia |
| Database: | CLASE |
| System number: | 000528227 |
| ISSN: | 0002-0591 |
| Authors: | Ribeiro, Marcelo Rodrigues Souza1 |
| Institutions: | 1Universidade Federal da Bahia, Salvador, Bahia. Brasil |
| Year: | 2021 |
| Season: | Ene-Jun |
| Number: | 63 |
| Pages: | 447-485 |
| Country: | Brasil |
| Language: | Portugués |
| Document type: | Artículo |
| Approach: | Analítico, descriptivo |
| English abstract | Since 1912, countless texts novels, radio shows, comic strips, television serials, films have produced and articulated representations of Africa in narratives featuring Tarzan, a character created by the US author Edgar Rice Burroughs (1875-1950). Taking the name of Africa as a reference, the texts which surround and inhabit the name of Tarzan belong both to a Western genealogy and to a cross-cultural history. After examining the economy of the global circulation of the Tarzan trademark, I give a brief and schematic description of Tarzans filmography, which allows me to interrogate what I call the occidentalist name-in-closure of Africa. At last, by means of a close reading of Jean Rouchs Moi, un noir (1959) as a prism through which Tarzans global circulation can be interpreted and reinvented, I suggest possibilities of imaginative overflow, opening up the cross-cultural spacing of the writing of “Africa” as political economy of the name of “Africa” |
| Portuguese abstract | Desde 1912, inúmeros textos romances, programas de rádio, histórias em quadrinhos, seriados de televisão, filmes produziram e articularam representações da África em narrativas envolvendo Tarzan, criado pelo estadunidense Edgar Rice Burroughs (1875-1950). Tomando o nome de África como referência, os textos que orbitam e habitam o nome de Tarzan pertencem a uma genealogia ocidental e a uma história transcultural. Após abordar a economia da marca registrada Tarzan ® em sua circulação global, uma descrição breve e esquemática da filmografia de Tarzan me permite interrogar o que chamo de nomenclausura ocidentalista da África. Finalmente, por meio de uma leitura atenta de Moi, un noir (1959), de Jean Rouch, como um prisma através do qual a circulação global de Tarzan pode ser interpretada e reinventada, sugiro possibilidades de transbordamento imaginativo, abrindo o espaçamento transcultural da escritura da África como economia política do nome de África. Since 1912, countless texts novels, radio shows, comic strips, television serials, films have produced and articulated representations of Africa in narratives featuring Tarzan, a character created by the US author Edgar Rice Burroughs (1875-1950). Taking the name of Africa as a reference, the texts which surround and inhabit the name of Tarzan belong both to a Western genealogy and to a cross-cultural history. After examining the economy of the global circulation of the Tarzan trademark, I give a brief and schematic description of Tarzans filmography, which allows me to interrogate what I call the occidentalist name-in-closure of Africa. At last, by means of a close reading of Jean Rouchs Moi, un noir (1959) as a prism through which Tarzans global circulation can be interpreted and reinvented, I suggest possibilities of imaginative overflow, opening up the cross-cultural spacing of the writing of Afr |
| Disciplines: | Arte |
| Keyword: | Cine, Historia del arte, Historia política, Africa, Tarzán, Negros, Racismo, Estados Unidos de América, 1912 |
| Keyword: | Cinema, Art history, Political history, Africa, Tarzan, Blacks, Racism, United States of America, 1912 |
| Full text: | Texto completo (Ver PDF) |
