A dimensão colonial em Kriegsfibel de Bertolt Brecht

Abstract

This article examines Kriegsfibel by Bertolt Brecht, focusing on the interplay between its photo-epigrams and the critique of colonial structures during World War II. By understanding colonialism as a constitutive element of Western modernity, the photo-epigrams are analyzed as dialectical devices that challenge the dominant narratives of the 1940s and 1950s about the war. Through the analysis of three specific montages, the article argues that the discursive power of Kriegsfibel lies in the tension between war imagery and the satirical tone of the epigrams, creating a narrative that juxtaposes the horrors of war with the sardonic voice of a hidden narrator. In doing so, Brecht exposes the persistence of coloniality of power and the aestheticization of barbarism under the guise of civilization.