De acordo com o texto, a Tropicália a) congregou artistas – UNESP 2020 – Leia o texto sobre uma exposição no museu Tate Modern, em Londres, para responder às quest� …

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Tropicália

Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a rearticulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.

Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a rearticulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.

De acordo com o texto, a Tropicália

(A) congregou artistas de diversos matizes ideológicos, tanto favoráveis como contrários ao regime militar.

(B) foi um movimento eminentemente musical, que transmitia o otimismo da década de 1950.

(C) foi um movimento artístico-cultural que se apropriou do ideário da Antropofagia.

(D) foi um movimento cultural interrompido pelo regime militar.

(E) teve seu ápice incentivado pela explosão industrial nos estados do Rio de Janeiro e de São Paulo.

Resposta:

Alternativa Correta: C) foi um movimento artístico-cultural que se apropriou do ideário da Antropofagia.

No último parágrafo do texto, lemos que a “tropicália foi vista como uma rearticulação da Antropofagia,” comprovando que a Tropicália se apropriou dos ideais do outro movimento cultural em suas manifestações.

No texto:
“Tropicália was seen as a re-articulation of Antropophagia.”