Coffee And Transformation In Sao Paulo Brazil

Coffee and Transformation in São Paulo, Brazil advances a distinctive interpretation of the dynamism of the São Paulo region since the latter part of the nineteenth century. Large and entrepreneurial coffee landlords opened the frontier to the west of the state capital, playing a key role in making the state and Brazil the world's largest coffee producer for international markets. However, many of the immigrant settlers from Italy, Japan, Spain, and other countries emerged as major actors in the last phase of frontier expansion in western São Paulo. A substantial number of them found ways to become independent agriculturalists or enact new careers in commerce, industry, and services in the network of towns emerging in this region. This volume pays close attention to the political and economic implications of this region's process of segmentation and transformation, including their links to regionalism, political conflict, and the Revolution of 1930.

This volume examines the dynamism of the São Paulo region and its coffee industry and evolution since the latter part of the nineteenth century. Targeting key players such as large entrepreneurial coffee landlords and immigrant settlers, this book addresses the process of transformation and segmentation in São Paulo and Brazil.

This book presents a comparative study of Tristan Tzara (1896-1963) and Mário de Andrade (1893-1945), analysing their contributions to oral language traditions and to the body of criticism on modernism. This is the first work to offer an analysis of Tzara’s posthumously published prose Personnage d’insomnie, and the first in the English language that explores de Andrade’s libretto for the opera Café, as well as other examples of their poetry and prose. The Romanian Jewish poet and writer Tzara, later a naturalised French citizen, became a central figure in the European avant–garde from 1916 when he took part in the Dada Movement. Mario de Andrade, the Brazilian poet, writer and musicologist of mixed origins, was a contemporary of Tzara and a similarly central figure in the 1922 São Paulo Modern Art Week that defined Brazilian Modernism. Both emerged from very different backgrounds, but they followed a parallel creative path. This book discusses their research and adaptation of various language manifestations, ethnopoetics and folk traditions that led them to the creation of distinct and individual styles. The historical and socio-political events of the late 1930s would later prompt both authors to develop militant poetics. Through chronologically compatible case studies, the reader will discover that Tzara and de Andrade, alongside their playful language, actively criticised cultural imperialism and advocated against hate. Journeys can be physical and intellectual; they can crisscross, leave traces and overlap. This book takes the reader from two starting points, a small Romanian town in the foothills of the Carpathians, and a two-storey house in an unusually tranquil street in São Paulo, Brazil, to the heart of the twentieth-century avant-garde. As it shows, Tristan Tzara and Mário de Andrade traversed borders and geographical points, and their poetics meet in Mozambique, Parisian cafés and Bantu chants.

This book addresses the numerous national movements of ethnic groups around the world seeking independence, more self-rule, or autonomy—movements that have proliferated exponentially in the 21st century. In the last 15 years, globalization, religious radicalization, economic changes, endangered cultures and languages, cultural suppression, racial tensions, and many other factors have stimulated the emergence of autonomy and independence movements in every corner of the world—even in areas formerly considered immune to self-government demands such as South America. Researching the numerous ethnic groups seeking autonomy or independence worldwide previously required referencing many specialized publications. This book makes this difficult-to-find information available in a single volume, presented in a simple format accessible to everyone, from high school readers to scholars in advanced studies programs. The book provides an extensive update to Greenwood's Encyclopedia of the Stateless Nations: Ethnic and National Groups around the World that was published more than a decade earlier. Each ethnic group receives an alphabetically organized entry containing information such as alternate names, population figures, flag or flags, geography, history, culture, and languages. All the information readers need to understand the motivating factors behind each movement and the current situation of each ethnic group is presented in a compact summary. Fact boxes at the beginning of each entry enable students to quickly access key information, and consistent entry structure makes for easy cross-cultural comparisons.

In Public Spectacles of Violence Rielle Navitski examines the proliferation of cinematic and photographic images of criminality, bodily injury, and technological catastrophe in early twentieth-century Mexico and Brazil, which were among Latin America’s most industrialized nations and later developed two of the region’s largest film industries. Navitski analyzes a wide range of sensational cultural forms, from nonfiction films and serial cinema to illustrated police reportage, serial literature, and fan magazines, demonstrating how media spectacles of violence helped audiences make sense of the political instability, high crime rates, and social inequality that came with modernization. In both nations, sensational cinema and journalism—influenced by imported films—forged a common public sphere that reached across the racial, class, and geographic divides accentuated by economic growth and urbanization. Highlighting the human costs of modernization, these media constructed everyday experience as decidedly modern, in that it was marked by the same social ills facing industrialized countries. The legacy of sensational early twentieth-century visual culture remains felt in Mexico and Brazil today, where public displays of violence by the military, police, and organized crime are hypervisible.