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"The one source that sets reference collections on Latin American studies apart from all other geographic areas of the world.... The Handbook has provided scholars interested in Latin America with a bibliographical source of a quality unavailable to scholars in most other branches of area studies." —Latin American Research Review Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year b...
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Brazil's northeastern state of Bahia has built its economy around attracting international tourists to what is billed as the locus of Afro-Brazilian culture and the epicenter of Brazilian racial harmony. Yet this inclusive ideal has a complicated past. Ch
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When Brazilians are far from home they dream of Bahia - of its powder-fine beaches and reef-ringed islands; of waterfalls in the Diamond mountains of the arid sertão, of cobbled streets and pastel-painted houses in Salvador. They long for capoeira and the rich spicy smell of Bahian cooking; the rhythms of axé and the colour of the world's largest carnival. "Você tem que ir." they say. "You must go." Bradt's Bahia shows the way to the World Heritage sites of Salvador (which has the largest collection of colonial baroque in the world) and the Discovery Coast rainforests; to the best of the beaches around the resorts of Itacaré, Porto Seguro and Trancoso; and beyond to the unspoilt island of Boipeba; the northern Linha Verde near Mangue Seco; and the little-explored coast of Sergipe and Alagoas states to Bahia's north.
Sacred art flourishes today in northeastern Brazil, where European and African religious traditions have intersected for centuries. Professional artists create images of both the Catholic saints and the African gods of Candomblé to meet the needs of a vast market of believers and art collectors. Over the past decade, Henry Glassie and Pravina Shukla conducted intense research in the states of Bahia and Pernambuco, interviewing the artists at length, photographing their processes and products, attending Catholic and Candomblé services, and finally creating a comprehensive book, governed by a deep understanding of the artists themselves. Beginning with Edival Rosas, who carves monumental baroque statues for churches, and ending with Francisco Santos, who paints images of the gods for Candomblé terreiros, the book displays the diversity of Brazilian artistic techniques and religious interpretations. Glassie and Shukla enhance their findings with comparisons from art and religion in the United States, Nigeria, Portugal, Turkey, India, Bangladesh, and Japan and gesture toward an encompassing theology of power and beauty that brings unity into the spiritual art of the world.
div The first major retrospective of the Brazilian modernist architect's life and work/DIV
Relax on one of Salvador’s white-sand beaches and you will see the art ballet of capoeira, smell the rich spicy cooking of Bahia, and get the unmistakable feeling that you are in African Brazil. The homeland of Brazil’s African heritage is like nowhere else in Brazil: carnivals sway to the rhythms of the drum troupe orchestras while churches are decorated with statues of black saints. Footprint Focus Bahia & Salvador will take you from the cultural capital Salvador, along Bahia’s beautiful coast, stopping off at an assortment of laid-back little towns and hedonistic party-cities on the way. Includes practical advice on getting to and around the region plus fascinating insights into the...
Listen to the artists of the Brazilian Northeast. Their work, they say, comes of continuity and creativity. Continuity runs along lines of learning toward social coherence. Creativity brings challenges and deep personal satisfaction. What they say and do in Brazil aligns with ethnographic evidence from New Mexico and North Carolina; from Ireland, Portugal, and Italy; from Nigeria, Turkey, India, and Bangladesh; from China and Japan. This book is about that, about folk art as a sign of human unity.
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