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Drawing (...) City (...) Body, Dwelling on Earth
This international seminar’s fifth edition, dedicated to the theme Desenho (...) Cidade (...) Corpo, Habitando a Terra (Drawing [...] City [...] Body, Inhabiting the Earth) was held as a joint activity between: this C.I.A.U.D./F.A./U.Lisboa Research Project, the University of São Paulo, represented by the Maria Antônia University Centre, and the Faculty of Architecture and Urbanism of the Federal University of Juiz de Fora. Its objectives were threefold: To discuss how Drawing in/of the City and the elements that identify it (geographical area, inhabitants, natural landscape and/or built landscape; present, desired or memorable facts and data) are represented and identified through the p...
"Civilizing" Rio
A massive urban renewal and public-health campaign in the first decades of the nineteenth century transformed Brazil's capital into a showcase of European architecture and public works. The renovation of Rio, or &"civilization&" campaign, as the government called it, widened streets, modernized the port, and improved sanitation, lighting, and public transportation. These changes made life worse, not better, for the majority of the city's residents, however; the laboring poor could no longer afford to live in the downtown, and the public-health plan did not extend to the peripheral areas where they were being forced to move. Their resistance is the focus of Teresa Meade's study. Meade details how Rio grew according to the requirements of international capital, which financed, planned, and oversaw the renewal&—and how local movements resisted these powerful, distant forces. She also traces the popular rebellion that continued for more than twenty years after the renovation ended in 1909, illustrating that community protests are the major characteristic of political life in the modern era.
Policing Rio de Janeiro
When in 1808 members of the Portuguese royal entourage arrived in Rio de Janeiro, the capital of a colony most had previously known only through administrative reports and balance sheets, they encountered a hostile and dangerous population that included a large number of African slaves. One of the institutions they brought from Lisbon was the General Intendancy of Police, which was the foundation on which the city's police institutions were built. The government met the challenge of bringing the inhabitants of Rio de Janeiro under control with a repressive apparatus that grew along with the problem it was created to solve. Policing Rio de Janeiro is a history of one of the fundamental instit...
Music in Imperial Rio de Janeiro
This resource is an interesting look at how European culture, particularly European music, related to the social and cultural experiences of the residents of ninteenth-century Rio de Janeiro. The focus is on how Cariocas (residents of Rio de Janeiro) responded to and often imitated different musical styles imported from Europe. After introducing the local musical setting and showing how musical life in imperial Rio de Janeiro reflected Parisian models, the author discusses the importation of operatic repertory, the use of German classical music as the basis of an elite social class, the role of European music in Brazilian theater, and finally, the emergence of a "national" music. Overall, this study reveals European music as a powerful force in the internal processes of political, cultural, social, and ethnic negotiations during the 19th century government of Emperor Pedro II. Musicologists, Latin American historians, and anyone with an interest in urban studies will find much of interest in this book.
Every Inch a King
None
National Union Catalog
Includes entries for maps and atlases.
In the Studio
Studios are, at once, material environments and symbolic forms, sites of artistic creation and physical labor, and nodes in networks of resource circulation. They are architectural places that generate virtual spaces—worlds built to build worlds. Yet, despite being icons of corporate identity, studios have faded into the background of critical discourse and into the margins of film and media history. In response, In the Studio demonstrates that when we foreground these worlds, we gain new insights into moving-image culture and the dynamics that quietly mark the worlds on our screens. Spanning the twentieth century and moving globally, this unique collection tells new stories about studio icons—Pinewood, Cinecittà, Churubusco, and CBS—as well as about the experimental workplaces of filmmakers and artists from Aleksandr Medvedkin to Charles and Ray Eames and Hollis Frampton.
