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Includes entries for maps and atlases.
Before Brasília offers an in-depth exploration of life in the captaincy of Goiás during the late colonial and early national period of Brazilian history. Karasch effectively counters the “decadence” narrative that has dominated the historiography of Goiás. She shifts the focus from the declining white elite to an expanding free population of color, basing her conclusions on sources previously unavailable to scholars that allow her to meaningfully analyze the impacts of geography and ethnography. Karasch studies the progression of this society as it evolved from the slaving frontier of the seventeenth century to a majority free population of color by 1835. As populations of indigenous and African captives and their descendants grew throughout Brazil, so did resistance and violent opposition to slavery. This comprehensive work explores the development of frontier violence and the enslavements that ultimately led to the consolidation of white rule over a majority population of color, both free and enslaved.
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This edited volume aims at exploring a most relevant but somewhat neglected subject in archaeological studies, especially within Latin America: maroons and runaway settlements. Scholarship on runaways is well established and prolific in ethnology, anthropology and history, but it is still in its infancy in archaeology. A small body of archaeological literature on maroons exists for other regions, but no single volume discusses the subject in depth, including diverse eras and geographical areas within Latin American contexts. Thus, a central aim of the volume is to gather together some of the most active, Latin American maroon archaeologists in a single volume. This volume will thus become an important reference book on the subject and will also foster further archaeology research on maroon settlements. The introduction and comments by senior scholars provide a wide-ranging and comprehensive analysis of runaway archaeology that will help to indicate the global importance of this research.
"Argues that rural land and labor activism extend back to 1920s, at least in Säao Paulo state. Details interaction of rural workers with Vargas state, the Partido Comunista Brasileiro, Catholic Church, and other actors, and workers' responses to repression after 1964. Important antidote to generally ahistorical analyses of contemporary Movimento dos Trabalhadores Rurais Sem Terra"--Handbook of Latin American Studies, v. 58.
People from outside of Brasília often dismiss Brazil’s capital as socially divided, boring, corrupt, and emotionally cold. Apparently its founders created not a vibrant capital, but a cultural wasteland. However, as Sophia Beal argues, Brasília’s contemporary artists are out to prove the skeptics wrong. These twenty-first-century artists are changing how people think about the city and animating its public spaces. They are recasting Brasília as a vibrant city of the arts in which cultural production affirms a creative right to the city. Various genres—prose, poetry, film, cultural journalism, music, photography, graffiti, street theater, and street dance—play a part. Brasília’s initial 1960s art was state-sanctioned, carried out mainly by privileged, white men. In contrast, the capital’s contemporary art is marked by its diversity, challenging norms about who has a voice within the Brasília art scene. This art demystifies the capital’s inequities and imagines alternative ways of inhabiting the city.