[glauco mattoso
as case study]

by Steven Butterman [1]

(a) INTRODUCTION

Paulistano author Glauco Mattoso (pseudonym of Pedro José Ferreira da
Silva, born 1951) is often inscribed under the banner of "poesia
marginal" largely produced by members of the "geração mimeógrafo." Each
of the genres of his literary production–autobiography, essay, poetry,
fiction, and most recently, musical lyrics–has been severely neglected
and under-studied despite their inestimable collective value in
disseminating themes and sub-themes of homosexual transgression as
cultural resistance in contemporary Brazilian literature. To date [2],
no book-length critical work has been produced on Mattoso, whose own
corpus consists of at least fifteen published works. [3] Furthermore, an
extensive search of "Dissertation Abstracts International On Disc
(1861-1998)" has revealed that not a single dissertation has been
devoted to any or all of Mattoso's contributions.

One of the goals of this dissertation will be to help fill the gap in
critical literature on an important author, focusing on the evolution of
the motif of homosexual transgression evident in his work from 1977 to
1999. I will attempt to demonstrate that Mattoso's work reflects a
postmodern adaptation of Brazilian literature of transgression,
parodically and subversively critiquing "antropofagia" and other aspects
of Brazilian modernism's most radical aesthetics.

Self-identified as a lyrical poet, Mattoso's expression reaches its peak
in 1982, three years before the beginning of the "Nova República"
(Figueiredo's leadership, 1979-85). An analysis of literary production
between the 1970s to the late-1990s must take into consideration the
turbulent societal transformations occurring throughout this extended
time of expression. Therefore, the study will necessarily reflect
milieux of both dictatorship and democracy, as well as transitional
changes. More specifically, the dissertation will focus on subversion
and cultural resistance occurring within an oppressive environment.
However, any treatment of Mattoso's corpus must also carefully consider
works written in the "pós-Abertura" years. Perhaps no longer inhibited
by the dangers of censorship and repression, the degree of subversion in
Mattoso's transgressive literature only intensifies after 1985.

Through in-depth textual analysis and a series of interviews conducted
with the author, the thesis traces this process whereby the author's
declamations and denunciations become increasingly violent and forceful
while no less cryptic and hermetic in nature. A cornerstone of the
thesis will be to suggest possible reasons for the exacerbation of the
"lado maldito" of Mattoso's verse as it develops through the two-decade
time span of his production. The study will therefore carefully examine
the interplay of sexuality and politics in the works at hand, while
tracing the significant evolution evident of both within Brazil during
the decades in question; that is, patterns of repression and
liberalization in both government (military dictatorship versus
openness), and sexuality (AIDS-phobia and stigma versus freedom for male
homosexual expression).

Finally, and most importantly, the thesis is intended to delineate
alternate homosexualities that transcend the limits of general Brazilian
"machista" definitions, which tend to polarize sex and gender roles into
"active" and "passive" distinctions. Mattoso, through a process of
decentering the obsessive domain of sexual penetration, expands
sexuality into multiple sexualities, where the binary roles of the "sex
act" are no longer relevant, producing more versatile and fluid concepts
of sexualities. An essential question will be to examine the extent of
success or failure in Mattoso's transgression of traditionally rigid
roles. Is decentering the power of the phallus and refocusing sexual
energies to other parts of the body capable of toppling patriarchal
definitions that emphasize supremacy of the phallus? Does the literary
act of depathologizing fetishistic sexual behaviors, such as
sadomasochism and foot fetishism, actually subvert the psychological
framework of culturally-laden concepts such as "dar" and "comer," thus
liberating partners to more gratifying means of sexual expression?
Should we contend that an embracement of sexual diversity is the only
goal that Mattoso's work accomplishes? Or is Mattoso's attempt a far
more pragmatic, although no less significant one: imbuing the ancient
tradition of foot worship with renewed sexual energy as part of an
overall "campaign" of safe-sex in the age of AIDS?

To date, David William Foster is the only North American scholar who has
published books and articles that include a discussion of Glauco
Mattoso's work. A scant number of other authors, such as Charles A.
Perrone, include passing references to Glauco Mattoso (Perrone, SEVEN
FACES..., 141, 221; "Margins and Marginals...," 32) but never with any
in-depth analysis provided and always under the vast but superficial
label of "poeta marginal" and practitioner of "avant-garde experiments."
While his focus is clearly anthropological rather than literary in
nature, Richard G. Parker makes no reference to the wealth of alternate
sexualities that permeates the not-so-easily polarized "Sexual Culture
in Contemporary Brazil," which Parker strives to interrogate in his own
work.

Neglect of Mattoso's contributions is even more severe in the existent
literature published in Brazil. It is important to note that none of the
mainstream collections, compilations, or critical analyses of
contemporary Brazilian poetry even include Glauco Mattoso in their
respective bibliographies let alone provide any textual analysis of his
works. Multiple book-length works produced by "poesia marginal" scholars
Carlos Alberto Pereira and Heloísa Buarque de Hollanda clearly reflect
this absence.

João Silvério Trevisan, in PERVERTS IN PARADISE, devotes merely seven
sentences to the poetry of Glauco Mattoso, emphasizing his "foul-mouthed
nature" and his "anarchic and dadaist [approach], tinged with semiotic
suggestions whose nuances of magisterial ambivalence come from the
insertion of an obscene element by which the attempts at academic
intellectualisation so typical of semiologists are seen to be destroyed"
(109). Trevisan's ultimate assessment appears to be, however
reluctantly, a positive one: "His work seems to me to have that breath
of radicality rare and necessary to poetry, which thereby loses its
limits and inhibitions and contaminates everything" (110). [4]

Returning now to Foster, the literary critic who has devoted, in
CULTURAL DIVERSITY IN LATIN AMERICAN LITERATURE, the most space in any
given work (i.e., ten pages, pp. 62-72) to one of Mattoso's works
(MANUAL DO PEDÓLATRA AMADOR), the critic immediately characterizes
Mattoso's writing as "outrageous" (63) and proceeds to explore various
levels of outrageousness, both with respect to Mattoso's sub-themes and
his "unrepentant, unmediated" style of expression. Foster points to the
liberalization or the "carnivalization" of sexual signifiers evident in
Mattoso's autobiography. In addition, Foster alludes to the fundamental
sense of "symbolic humiliation" within the realm of sadomasochism, by
which Mattoso infers the need to separate real physical suffering from
sexual (role-)play. Foster essentially contends that the autobiography's
fetishistic obsession with feet reasserts the "outrageous" nature of the
text. Foster, therefore, is not convinced that Mattoso has succeeded in
depathologizing the revisionist eroticism that he proposes. In his
concluding remarks, Foster maintains that the MANUAL DO PEDÓLATRA AMADOR
succeeds in its "degendering of erotic pleasure, in its rejection of sex
as masculine or feminine role playing" (71). [5]

With regard to Mattoso's poetic production, Foster is far more negative,
stating that his "several books of poetry [...] are marked more by
verbal and graphic images of an exaggerated masculinity [...] than they
are by good writing" (LATIN AMERICAN WRITERS ON GAY AND LESBIAN THEMES
218). [6]

Finally, Néstor Perlongher's postface to the MANUAL DO PEDÓLATRA AMADOR
is mainly concerned with defending Mattoso's liberalization of alternate
sexual technologies as a means of avoiding or reducing risks of
acquiring AIDS, subverting the hegemony of institutionalized
genital-based sexual practices.

If, as I will attempt to demonstrate throughout the thesis, "eroticism,"
"sex," and "sexuality" are products of political negotiation and power,
it is also true that "sexual instinct," as a natural force, is the
weapon against such repressive concepts and is therefore viewed as a
danger that must be regulated and manipulated, tamed and modified to
conform to a "normalized" sense of sexual behavior.

In addition to consciousness and unfettered actualization of sexual
instinct, Mattoso's works bear another weapon designed to transcend
repression: transgression. Such themes permit a questioning of imposed
norms of behavior and thus constitute an effective tool of empowerment
against the institutionalized political power that confines and
prohibits conscious constructions and actualizations of selfhood. This
dissertation theoretically subscribes to the notion proposed by La
Agrado, one of Pedro Almodóvar's transsexual characters in the recent
Spanish film, "Todo sobre mi madre." In one of her improvisational
performances, she proudly proclaims: "One is most authentic when she
resembles as closely as possible the person she would like to be."

Political and social power in Mattoso's works are almost always
sexualized, but we must also recall that uninhibited textual exploration
of sexual behavior is exploited for its dramatic and ritual
manifestations. Through recourse to sadomasochism and fetishism, Mattoso
symbolically undermines patriarchal domination and phallocentric
obsession in traditional Brazilian homosexual and heterosexual
sub-cultures. Symbolic humiliation and degradation are, in the principle
of carnivalesque inversion, used to denounce the realities of physical
torture and sexual violence.

Analysis of Glauco Mattoso's literary production is performed from a
combination of the following theoretical frameworks, as defined by Terry
Eagleton in LITERARY THEORY: Close reading (30; 37-8), to underscore the
wealth of "jogos de palavra" abundant in Mattoso's prose as well as his
poetry; Saussurian semiotic theory (84-9), to aid specifically in
interpreting Mattoso's most ambiguous concrete and post-concrete poems;
a structuralist approach (79-112), emphasizing multivalent meanings and
significances in a text, reflecting the notion that there are very few
"givens" in Mattoso's poetry, forcing the reader to work almost as hard
in the creative process as the author; and, finally a post-structuralist
framework (110-30), emphasizing two facets: analysis of a transgressive
discourse whereby binary oppositions are deconstructed so that they are
no longer polarized. Secondly, it is imperative to emphasize the
destructive qualities of Mattoso's works in addition to their
inventiveness, challenging the cultural institutions that have come to
define sexuality in modern Brazil so as to seek freedom from rigid
definitions. It is my hope to illustrate in the pages to come that
Mattoso's poetry constitutes a postmodern extension of Brazilian
literature of transgression and, in tirelessly representing alternate
sexualities hitherto discarded as "perverse," contributes significantly
to the field of gender studies in Brazil.

Glauco Mattoso's poetry is considerably influenced by postmodern
conceptions of the "anti-aesthetic," which, as Dick Hebdige points out
in his article, "The Impossible Object: Towards a Sociology of the
Sublime," follows Nietzsche's "rejection of the Enlightenment idea(l) of
beauty" (48). Hebdige proceeds to examine the paradoxical historical
development of the word "taste," as it evolved from the original
conception based on physiological sensations to its modern
institutionalized normative and corrective function, establishing the
rules and codes of "good taste." As we shall see, it is precisely this
codification that Mattoso's poetry seeks to subvert.

The transgressive literary production of Georges Bataille ludically
performs a critical examination and challenge of aesthetic principles
that constitute traditional philosophical conceptions. Utilizing the
metaphor of a rose to debunk notions of beauty that are idealized at the
expense of rejecting or denying the ugliness inherent in any beautiful
object, Bataille states, in his essay, "The Language of Flowers," that
"even the most beautiful flowers are spoiled in their centers by hairy
sexual organs. Thus the interior of a rose does not at all correspond to
its exterior beauty; if one tears off all of the corolla's petals, all
that remains is a rather sordid tuft" (VISIONS 12). Bataille
convincingly argues for the acknowledgment and then the incorporation of
"distaste" in any formula that dictates notions of "taste" in order to
constitute the wholeness of an object and avoid the over-idealization
achieved by neglecting some of its most base and basic features.
Interestingly, the metaphor of the rose used to argue philosophical
constructs of aesthetic value may also be employed to view and challenge
the "civilization" of human beings. The appearance – the surface beauty
– of the rose is not paralleled by a similarly pleasing internal
quality; in fact, the "hairy sexual organs" may be viewed with disgust.
Using the same logic, it can be argued that a person is socialized to
reveal a pleasant, polite exterior – clean-cut, shaven, deodorized,
bathed, and packaged with a smile – while neglecting to demonstrate and
often repressing one's own internal animality. The basic qualities that
are hidden or suppressed by "civilization," Bataille might say, should
not necessarily be construed as negative but rather as contributing to a
wholeness of character. As Arkady Plotnitsky states, in his article,
"The Maze of Taste: On Bataille, Derrida, and Kant," for Bataille "the
general economy of 'taste' must incorporate 'dis-taste' and 'dis-gust'
as its ineluctable constituent" (120).

Sigmund Freud also uses the similar analogy of flower-beds and pots of
flowers to signify beauty and then links a human reverence for aesthetic
beauty to notions of "civilization": "We soon observe that this useless
thing which we expect civilization to value is beauty. We require
civilized man to reverence beauty wherever he sees it in nature and to
create it in the objects of his handiwork so far as he is able"
(CIVILIZATION AND ITS DISCONTENTS 39). Freud continues to problematize
contemporary notions of "civilization," positing that cleanliness and
order are two essential manifestations of "high culture" and insisting
that "dirtiness of any kind seems to us incompatible with civilization.
We extend our demand for cleanliness to the human body too" (40). Later
in the same essay, Freud establishes the fact that order and
cleanliness, while deemed to be important civilizing requirements, are
not critical for human survival, for "their vital necessity is not very
apparent, any more than their suitability as sources of enjoyment" (44).
Ultimately, Freud arrives at the conclusion that since notions of
cleanliness and order have been linked to "genital love," such
regulating behavioral requirements applied to sexual experience severely
limits human potentialities, and thus, "civilization threatens love with
substantial restrictions" (50). As guilt is heightened through the
repression that is instituted with the development of civilization,
humanity, according to Freud, pays the high price of sacrificing its own
happiness. Mattoso's poetics, as we shall see, strive to combat notions
of hygiene as they connect to sexuality, privileging bodily fluids and
smells that are labeled as repulsive and dirty, scents and liquids that
are viewed to be contaminants of the very civilizing forces that
separate humankind from the other members of the animal kingdom.
Interestingly, in CIVILIZATION AND ITS DISCONTENTS, Freud views the
repulsive reaction to natural bodily fluids and smells as somewhat of a
dysfunction related to a person's own rejection of his or her inherent
primitive qualities. Freud's focus, however, is exclusively on
genitalia:

The genitals [...] give rise to strong sensations of smell which many
people cannot tolerate and which spoil sexual intercourse for them. Thus
we should find that the deepest root of the sexual repression which
advances along with civilization is the organic defence of the new form
of life achieved with man's erect gait against his earlier animal
existence (53). [7]

The quest for the noxious, or at least the desire to dirty Enlightenment
ideals of aesthetics that were once thoroughly sanitized, has also
become an important goal as cultural studies has developed in the 1990s.
As Ian Hunter points out, in his article "Aesthetics and Cultural
Studies": "The cultural studies movement conceives of itself as a
critique of aesthetics. It construes its history in terms of the need to
transcend the limited conception of culture handed down by
nineteenth-century aesthetics" (347). Stuart Hall, in his discussion
which similarly theorizes the roles of cultural studies, puts the
anti-aesthetic approach more bluntly: "I'm trying to return the project
of cultural studies from the clean air of meaning and textuality and
theory to the something nasty down below" (278). It is indeed the
"dirtiness," the anti-hygienic quality of Mattoso's project, that allows
the author to provoke sexual sensibilities and simultaneously critique
rigid notions of (homo)sexualities.

Such an insistence on challenging sexual mores and inscribing
radicalized sexualities is transgressive writing. However, one of the
goals of this dissertation is to determine in precisely what ways and on
which levels Mattoso's poetic production may be deemed "transgressive."
In order to more effectively accomplish this study, it is necessary to
contemplate more precise definitions of "transgression." In his article,
"Play, Transgression, and Carnival," Robert R. Wilson offers a
three-part definition of literary transgression, framed within a
postmodern paradigm. In fact, in his conceptualization of postmodernism
as a rule-breaking activity, Wilson goes so far as to claim that
transgression may indeed serve as the criterion by which postmodern (and
modern, he adds in parentheses) literature is distinguished from
previous literary traditions (75). Transgression is viewed, above all,
as a positive and liberating force, one which not only "guarantees
authentic literariness" (75) but also "constitutes the freedom to write"
(76). Secondly, Wilson proposes that a critical strategy found in
literature of transgression is its thematic playfulness, a ludic
attitude toward itself as well as its readership. Finally, Wilson
extends his perspective on the ludic nature of the transgressive text to
include the carnivalesque play of language itself. Very much in
agreement with the ideals of the post-structuralist text, Wilson
asserts: "All language may be said to transgress itself: it always
subverts, through its inherent abstractness and arbitrariness, the
conventions of its speaking, or its writing, even if this is not readily
perceived" (76).

In very significant ways, elements of "brincadeira" and "sacanagem,"
Brazilian slang terms of great cultural importance which will be
problematized throughout the course of this dissertation, provide
affirmation for validating studies of ludic aspects of society and by
extension the study of culture as a whole. [8] Anthropologist Victor
Turner writes, in a preface to his study on Rio's "Carnaval," which he
is not the first to label "The Greatest Show on Earth":

The way people play perhaps is more profoundly revealing of a culture
than how they work, giving access to their 'heart values' [...] What we
are seeing is society in its subjunctive mood – to borrow a term from
grammar – its mood of feeling, willing, and desiring, its mood of
fantasizing, its playful mood; not its indicative mood, where it tries
to apply reason to human action and systematize the relationship between
ends and means in industry and bureaucracy (103-4).

Literature of transgression, with its ruptures in logic,
anti-rationalism, dionysian eroticism, reverence for irreverence and
love of excess, is most effectively produced in the sensory and sensuous
realm of the carnivalesque. The poetic voices constructed by Glauco
Mattoso, as I will examine, fulfill postmodern requirements of the ideal
transgressive subject that, in carnivalesque fashion, evades concrete
definition and does not subscribe to codification. Some may argue, as
Roberto Maria Dainotto has in "The Excremental Sublime: The Postmodern
Literature of Blockage and Release," that the only authentic postmodern
subject is the one who resists succumbing to the logical structures and
orders that societies mandate and is therefore able to preserve an
individuality less tainted by externally-imposed cultural baggage:

This is the price that the subject has to pay for its survival. Giving
up any metaphysical consistency, this sort of subject becomes, quite
literally, an excrement, a surplus that cannot be codified and inscribed
in the fabricated notions of 'reality.' Its 'resistance' to codification
institutes at the same time its absolute superfluity in relation to the
symbolic order (156).

Glauco Mattoso assumes a performative transgressive identity, an
identity that includes but also transcends a political definition of the
social being in connection to the larger national or human society from
which his voice emerges. As many feminist thinkers have argued, within a
postmodernist philosophy, the act of transgressing codes or norms
associated with sexuality has the potential to accomplish much more than
merely liberation from heterosexist repression and control. As Louise
Turcotte has recently argued, "Transgressing taboos around sexual
identity is the way to resolve conflicts in social relationships" (118).
If a sexual act or notion is censored or censured, then the mainstream
"script" of acceptable social relationships is never called into
question. Thus, old conflicts sparked by rigid roles are infinitely
repeated until attitudinal change is effected. Clearly, the act of
transgressing boundaries naïvely perceived as firm may have
extraordinary – even revolutionary – repercussions. Transgression of
sexual codes and taboos necessitates a discussion of Georges Bataille's
decentered subject who inhabits an erotically transgressive universe.


(b) CONCLUSION

As I have attempted to show throughout this dissertation, Glauco
Mattoso's anti-aesthetic proposals and poetic contributions are devoted
to both praising and subverting the most radical projects undertaken
during Brazilian modernism. In a very significant sense, then, Rebecca
Schneider's statement in regards to contemporary feminist writings of
/on the body also applies to Mattoso's parodic postmodern mockeries of
modernism. The author's "Manifesto Coprofágico," for instance, is indeed
a "talking back" to Oswald de Andrade's "Manifesto Antropófago," just as
feminist explicit body work of the 1960s "talks back to precedent terms
of avant-garde transgression, raising questions about modernist 'shock
value' and particular fascination with a 'primitive,' sexual, and
excremental body" (3). Mattoso's work, however, accomplishes a far
greater feat than the ability to "épater le bourgeois," for it also uses
sexual and aesthetic transgression to challenge socio-political
realities of both an oppressive military regime and a post-"Abertura"
Brazilian democracy. On a literary level, much like Deleuze
characterized writings of Sade and Masoch as "pornologic" rather than
"pornographic" in nature, due to both authors' extravagant excesses and
infinitely monotonous repetitions, I contend that Mattoso's corpus, by
being mega-transgressive, is also meta-transgressive, for much like the
intentions of the surrealists and the absurdists, his ideas are taken to
such an extreme that the very power of literature of transgression to
effect change or raise consciousness is itself diluted. Perhaps one of
Mattoso's most well attained goals is to render transgression impotent
in its confrontation with a social universe which will not tolerate it.
If Mattoso's most recent, highly repetitive poetry is a reflection of a
stagnant immobility, then his radical transgression has already
transgressed its own limits of being defined as transgressive and,
consequently, a collection like CENTOPÉIA: SONETOS NOJENTOS & QUEJANDOS
produces a desensitization if not normalization in the reader.


Mattoso's recourse to motifs of sexuality and his obsession with
representing nonprocreative sexual activity is fundamental for
critiquing both a society where sexual repression is encouraged as well
as other institutions on which Brazil – or, more precisely, official
discourses of "brasilidade" – define themselves. As Marilena Chauí
concludes, a study of representations of sexuality in Brazil provides a
significant window into the realities of Brazilian society as a whole:


[Se pensarmos que, no caso do Brasil, a questão da sexualidade,
inseparável da estrutura familiar existente, ao ser tocada também toca
na instituição familiar, que, diferentemente de outros países, não é
apenas um instrumento (outrora necessário, hoje dispensável) do mercado
e da política, mas é o modelo da própria forma assumida pelo poder e
pelo Estado [...] então, a crítica da repressão sexual poderia ter um
alcance insuspeitado. Aparentemente pontual e localizada, a crítica da
repressão sexual atinge as estruturas da sociedade brasileira no seu
todo.] (228-9)


Mattoso affirms and promotes a sexuality wherein expression remains free
from inducing guilt and requiring excuses. In accordance with this aim,
Mattoso develops a notion of male subjectivity which subverts the
traditionally "machista" insistence on conforming to the patriarchy. In
a sense, Mattoso's conception of masculinity may be conceived in the
light of a NEO- or perhaps POST-"machismo," whereby the essence of
masculine identity is constructed by rebellion from sexual norms as
opposed to adherence to their narrow definitions. Mattoso, much like
Bataille, proposes a new concept of manliness, as Carolyn J. Dean shows
in her analysis of the latter:


[Bataille now uses the term "virility" not for the man who follows the
rules or even the man who nobly breaks them but for the tragic man who
refuses to become but one of the parts of the great machine in whose
image a rational, productive society fashions itself. In other words,
the virile man is he who refuses our culture's definition of what it
means to be whole. His wholeness (his manhood) is paradoxically linked
to an experience of transgressing limits rather than of containment
within boundaries that would demarcate his being.] (244-5)


Mattoso's fetishistic particularizing of the foot metaphorically
subverts any notion of wholeness. Even though the foot may stand in for
the phallus, with respect to both its libidinal properties and its power
to dominate others, it is a body part that is not conventionally used
for these purposes and thus challenges standard definitions of sexuality
and sexual identity.

Whether or not Mattoso's main objective is to depathologize sexuality
that has otherwise been deemed "perverse," he accomplishes much more
than a proposal to re-think culturally laden definitions of
"perversity." Mattoso's work is also significantly invested in a process
of questioning the politics of the canon and notions of literary taste.
Cultural studies theorists today acknowledge the necessity to examine
not only the content of what is judged to be worthy of canonization but
also the infinite number of political factors involved in the selection
of such material as well as the consequences of selecting one artifact
over another. As Marjorie Garber warns the literary critic, "We should
be careful about feeling that we can judge 'greatness,' for greatness,
like the canon, is always belated" (33). A far more important
consideration that the repulsed reader of Mattoso's poetry should take
into account is Garber's assertion that "art is not about correctness –
political or any other kind. Art, as writers from Sophocles to Marlowe
to Baudelaire to Joyce to Woolf to Morrison have always known and shown,
is about transgression and daring and engagement. And pleasure" (32).


[NOTES]

[1] Steven Fred Butterman is Assistant Professor of Portuguese at the
University of Miami. These texts are the "Introduction" and "Conclusion"
of his PhD thesis for the University of Wisconsin, BRAZILIAN LITERATURE
OF TRANSGRESSION AND POSTMODERN ANTI-AESTHETICS IN GLAUCO
MATTOSO.  Click here for excerpts from the thesis about Glauco Mattoso as [VISUAL]
and [BLIND] poet.

[2] Butterman's doctoral thesis was written during the year of 1999 and
submitted in 2000.

[3] Click here for Mattoso's [BIBLIOGRAPHY].

[4] Click here for bibliographic [SOURCES].

[5] Click here for Foster's essay on Mattoso as [FICTION] writer.

[6] Click here for Foster's article, among bibliographic [SOURCES].

[7] While it is not particularly relevant for this discussion, it is
interesting to note that Freud's study continues by analyzing certain
European peoples where odors commonlyconceived as repellent are imbued
with the status of sexual stimulants and are thus highly regarded in
collective views on sexuality.

[8]  These terms are covered more thoroughly in chapters two and four of
Butterman's thesis. For various possible definitions of "sacanagem," see
especially ["HAICAIS" AND "LIMEIRIQUES]", Note # 4. Butterman's table of
contents is the following:


CHAPTER ONE - THE POSTMODERN ANTI-AESTHETIC: PREFORMING
AND PERFORMING LITERATURE OF TRANSGRESSION

1.1 Introduction: Glauco Mattoso as Case Study

1.2 Bataille's Erotic Writings

1.3 "Cultural Studies" and Transgression of Disciplinarity

1.4 Performance Theory and the Construction of Subjectivities

1.5 Queer Theory

1.6 Fetishism and Postmodern Subjectivity

1.7 Notes


CHAPTER TWO - LITERATURE OF TRANSGRESSION IN THE WESTERN
CANON AND "SACANAGEM" AND "ANTROPOFAGIA" IN BRAZILIAN
LITERATURE

2.1 [introduction]

2.2 (Anti Re-) Productive Perversity: Freud Revisited

2.3 Originality and Mimesis: Aristotle and Plato

2.4 Sade and Masoch: Narrative Prototypes of the "maudit" figure

2.5 Nineteenth-century French "Poètes Maudites" Tradition: Baudelaire's
Rebelliousness; Mallarmé's Love of the Hermetic Text; Verlaine's Veiled
Homoeroticism; and Rimbaud's "Dissolution of the Self"

2.6 Twentieth-century French Tradition: Alfred Jarry's Anticipation of
Absurdist Aesthetics and Apollinaire's Rehabilitation of Sade

2.7 Black Humor: The (Burnt) Bridge Between Dadaism, Surrealism and the
Theater of the Absurd

2.8 Avant-Garde Theater of the 1950s and 1960s: Samuel Beckett's Eternal
Waiting, Infinite Incommunicability in Eugène Ionesco, The "Reverse
Mirror Image" in Jean Genet, and Fernando Arrabal's Panic Attack

2.9 The Iberian Quest for Transgression: as Cantigas de Escárnio e
Mal-Dizer

2.10 Baroque Intertextuality and Plagiarism

2.11 "Literatura de Cordel": "Stories on a String" En Route from Lisbon
to Rio to Northeastern Brazil

2.12 "Sacanagem sexual": Luso-Brazilian Satirical Sonnetists; Gregório
de Mattos e Guerra: Colonial Brazil's Most Notorious Anthropophagist

2.13 Adding Insult to Injury: Manuel Maria Barbosa du Bocage
(1765-1805); Laurindo José da Silva Rabelo (1826-1864); and Augusto
dos Anjos (1884-1914)

2.14 Qorpo-Santo (1829-1883): Still Waiting for (Godot's) Recognition

2.15 Appropriation without Credit Due: "Antropofagia cultural" and
Oswald de Andrade's (1890-1954) Unacknowledged Debt to Gregório

2.16 Notes


CHAPTER THREE - "POESIA MARGINAL" AND THE "GERAÇÃO
MIMEÓGRAFO": LITERARY "REVISTAS" AGAINST
MILITARY DICTATORSHIP

3.1 [introduction]

3.2 "Somos": Inverting Perversity

3.3 Glaucoma(t)toso and Performative Perversity

3.4 Mattoso's Camping Adventures

3.5 Notes


CHAPTER FOUR - "CAGAR É UMA LICENÇA POÉTICA": THE ANTI-AESTHETIC
AESTHETE AND "TURD WORLD" POETICS IN GLAUCO MATTOSO

4.1 [introduction]

4.2 "JORNAL DOBRABIL"

4.3 "Manifesto Coprofágico"

4.4 "Manifestivo Vanguardada" or "IV Manifesto da Vanguarda"

4.5 "Manifesto Obsoneto"

4.6 "Manifesto Pornô"

4.7 Homoeroticism in the "JORNAL DOBRABIL"

4.8 "Para-concrete" and Visual Poetry

4.9 "Haikais paulistanos", "Haikais fecais", and "Limeiriques"

4.10 Notes


CHAPTER FIVE - STRATEGIC PAIN: FETISHISM AND SADOMASOCHISM IN
"CENTOPÉIA: SONETOS NOJENTOS & QUEJANDOS"

5.1 [introduction]

5.2 Sadism, Masochism, and Fetishism: Connections and Disconnections

5.3 Depathologizing and Reinforcing Aesthetics of Perversity

5.4 Performative Masochism and Fetishism

5.5 The Performative Value of Repetition

5.6 Fetishism as Access to Defining "Brasilidade"

5.7 "Masocriticism": Limitations in Critique of Literature of
Transgression

5.8 Notes


6 CONCLUSION

7 RE-THINKING PERVERSITY

8 BIBLIOGRAPHY

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