מריו דה אנדרדה
הערות שוליים

↑  See Lokensgard and Nunes, in particular, for a detailed account of Andrade's influence in literature, and Hamilton-Tyrell for Andrade's influence in ethnomusicology and music theory.
↑  Foster, 76.
↑  Luper 43.
↑  Suárez and Tomlins, 35.
↑  Nunes, 72–73; see also Hamilton-Tyrell, 32 note 71, and Perrone, 62, for Andrade's French influences.
↑  Gouveia, 101–102.
↑  Hamilton-Tyrell, 9.
1 2  Amaral and Hastings, 14.
↑  Tomlins, Introduction to Hallucinated City (see English translations), xv.
1 2  Foster, 94–95.
↑  Willis, 261.
↑  Tomlins, Introduction to Hallucinated City, xiii–xiv.
↑  Willis, 262.
↑  Foster, 75.
1 2  See Green, section "Miss São Paulo."
↑  Luper 44–45.
↑  Luper 44.
↑  Gabara 38.
↑  Gabara compares the photographs to Andrade's extensive art collection, both of which "reflect his interest in portraiture as a modernist art practice" (Gabara, 35); but photography is more complicated, since its European origins and Andrade's native subjects place the photographs "at a site too far from Europe to be unproblematically modern, yet too distant from the
'primitive' to be authentically Other; they were neither sufficiently Parisian
nor Amazonian" (Gabara, 39).
↑  Gabara, 40.
↑  "Crouched at my desk in São Paulo / At my house in the rua Lopes Chaves / In a trice I felt a chill inside me..." (Andrade, "Descobrimento," 1927; translation from Bernard McGuirk, Latin American Literature: Symptoms, Risks, and Strategies of Post-structuralist Criticism, London: Routledge, 1997, 47).
↑  Lokensgard, 138–39.
↑  Mark Lokensgard examines in detail Andrade's "project of creating a new Brazilian literary language" (Lokensgard, 136), including the role of Macunaíma in that creation (138).
↑  López, 26–27.
↑  Though Andrade's desire may be that direct, cannibalism and primitivism, López argues, cannot make simple the novel's complex relationship to European-influenced culture: "the goal of incorporating popular speech into erudite literature is not only a cannibalizing, but to a certain extent also a colonializing, endeavor" (López 35).
1 2  Albuquerque 67.
↑  Nunes 72–73.
↑  In addition to Green, the issue of Andrade's sexuality is most prominently discussed in Esther Gabara, Errant Modernism: The Ethos of Photography in Mexico and Brazil (Durham, North Carolina: Duke University Press, 2009), 36–74.
↑  See López, 25–27, for a discussion of the novel's place within modernism; Maria Luisa Nunes calls the novel the Brazilian modernist movement's "masterpiece," a not uncommon conclusion (Nunes, 70).
↑  Johnson, Reed (17 ביוני 2009). "Satire, in the face of repression". Los Angeles Times. נבדק ב-23 בספטמבר 2010. {{cite news}}:  (עזרה)
↑  Luper, 5–58.
1 2  Luper 47.
↑  Filho and Herschmann 347–48.
↑  For example, Manoel Aranha Corrêa do Lago cites musicologist Luiz Heitor's critique of the popularesque in Brazilian music publishing (Corrêa do Lago, "Brazilian Sources in Milhaud's Le Boeuf sur le Toit: A Discussion and a Musical Analysis," Latin American Music Review 23, 1 [2002], 4).
↑  Suárez and Tomlins, 20.
↑  From Andrade's Pequena história da música, quoted and translated by Luper, 52.
↑  Jean-Paul Lefèvre, "Les missions universitaires françaises au Brésil dans les années 1930," Vingtième Siècle 38 (1993), 28.
↑  Suárez and Tomlins, 21
↑  Haberly 277–79.
↑  Haberly, 279.
↑  Haberly, 281.
↑  Suárez and Tomlins, 192.
↑  "Histórico: Biblioteca Mário de Andrade". Official website for City of São Paulo. נבדק ב-22 בספטמבר 2010. {{cite web}}:  (עזרה)
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בקרת זהויות :  NLI: 987007257724805171  PLWABN: 9810648504205606  BIBSYS: 90359740  BnF: cb12008289h (data)  CANTIC: a10403115  GND: 11864517X  ICCU: RAVV034148  ISNI: 0000 0001 2277 163X  LCCN: n50021546  Léonore: 5123  MusicBrainz: 8e78806b-9de2-4beb-9b24-d767c2967425  NDL: 001142150  NKC: jn19981000111  NLA: 35006818  NLK: KAC202112168  NSK: 000099807  NTA: 070234361  PIC: 384928  RERO: 02-A016308635  SELIBR: 35869  SNAC: w6jn30qw  SUDOC: 028199197  Trove: 787249  ULAN: 500276645  VcBA: 495/198546  VIAF: 19688448   WorldCat (עם VIAF): 19688448 
שערו של די קוואלקנטי לפאוליסיה דסוואריאדה, 1922.
ביתו של אנדרדה ברחוב לופז צ'אבס, סאו פאולו, שם הוא מתאר את עצמו "כורע ליד שולחני" בשיר משנת 1927.
ספריית מריו דה אנדרדה, סאו פאולו