Rebellion In The Backlands Os Sert Es

Euclides da Cunha's classic account of the brutal campaigns against religious mystic Antonio Conselheiro has been called the Bible of Brazilian nationality. "Euclides da Cunha went on the campaigns [against Conselheiro] as a journalist and what he returned with and published in 1902 is still unsurpassed in Latin American literature. Cunha is a talent as grand, spacious, entangled with knowledge, curiosity, and bafflement as the country itself. . . . On every page there is a heart of idea, speculation, dramatic observation that tells of a creative mission undertaken, the identity of the nation, and also the creation of a pure and eloquent prose style."—Elizabeth Hardwick, Bartleby in Manhattan

An engaging, innovative history of Brazil's black and indigenous people that redefines our understanding of slavery, citizenship, and national identity. This book focuses on the interconnected histories of black and indigenous people on Brazil's Atlantic frontier, and makes a case for the frontier as a key space that defined the boundaries and limitations of Brazilian citizenship.

Glauber Rocha is known as the visionary Brazilian director of landmark films, Black God, White Devil, Entranced Earth and Antonio das Mortes. Hitherto virtually unknown outside Brazil is that he was also a brilliant film critic and innovative thinker on world cinema. On Cinema brings together for the first time in the English language a comprehensive selection of Rocha's film writings, revealing for the first time to English-speaking readers the full critical power, inventiveness and vision of a great filmmaker. Rocha's writings, endowed with critical verve and humour, give insights into key moments of film history, as well as the politics of world cinema. Here he fearlessly confronts the film establishment and debates with a host of sacred filmmakers of the world pantheon. Included is Rocha's early criticism of Brazilian films, landmark manifestoes such as 'An Aesthetics of Hunger' and 'An Aesthetics of Dreams', articles about the development of Cinema Novo, and his international film criticism, including pieces on Charlie Chaplin, Orson Welles, James Dean, David Lean, John Huston, Stanley Kubrick, John Ford, Jean-Luc Godard, Pier Paolo Pasolini, Federico Fellini, Luis Bunuel, Luchino Visconti and Roberto Rossellini. The publication of On Cinema, edited by film scholar Ismail Xavier and in expert translation, is an international publishing event.

An important new translation of a fundamental work of Brazilian literature Written by a former army lieutenant, civil engineer, and journalist, Backlands is Euclides da Cunha's vivid and poignant portrayal of Brazil's infamous War of Canudos. The deadliest civil war in Brazilian history, the conflict during the 1890s was between the government and the village of Canudos in the northeastern state of Bahia, which had been settled by 30,000 followers of the religious zealot Antonio Conselheiro. Far from just an objective retelling, da Cunha's story shows both the significance of this event and the complexities of Brazilian society. Published here in a new translation by Elizabeth Lowe, and featuring an introduction by one of the foremost scholars of Latin America, this is sure to remain one of the best chronicles of war ever penned.

Imperial Debris redirects critical focus from ruins as evidence of the past to "ruination" as the processes through which imperial power occupies the present. Ann Laura Stoler's introduction is a manifesto, a compelling call for postcolonial studies to expand its analytical scope to address the toxic but less perceptible corrosions and violent accruals of colonial aftermaths, as well as their durable traces on the material environment and people's bodies and minds. In their provocative, tightly focused responses to Stoler, the contributors explore subjects as seemingly diverse as villages submerged during the building of a massive dam in southern India, Palestinian children taught to envision and document ancestral homes razed by the Israeli military, and survival on the toxic edges of oil refineries and amid the remains of apartheid in Durban, South Africa. They consider the significance of Cold War imagery of a United States decimated by nuclear blast, perceptions of a swath of Argentina's Gran Chaco as a barbarous void, and the enduring resonance, in contemporary sexual violence, of atrocities in King Leopold's Congo. Reflecting on the physical destruction of Sri Lanka, on Detroit as a colonial metropole in relation to sites of ruination in the Amazon, and on interactions near a UNESCO World Heritage Site in the Brazilian state of Bahia, the contributors attend to present-day harms in the occluded, unexpected sites and situations where earlier imperial formations persist. Contributors. Ariella Azoulay, John F. Collins, Sharad Chari, E. Valentine Daniel, Gastón Gordillo, Greg Grandin, Nancy Rose Hunt, Joseph Masco, Vyjayanthi Venuturupalli Rao, Ann Laura Stoler

This collection of essays explore the the Diggers, a group of 17th century men who shared a vision of a society based on collective ownership of the land. The themes discussed include the continuing power of leader Winstanley's writings, ideas on civil liberty and the economic background.

The massacre of Canudos In 1897 is a pivotal episode in Brazilian social history. Looking at the event through the eyes of the inhabitants, Levine challenges traditional interpretations and gives weight to the fact that most of the Canudenses were of mixed-raced descent and were thus perceived as opponents to progress and civilization. In 1897 Brazilian military forces destroyed the millenarian settlement of Canudos, murdering as many as 35,000 pious rural folk who had taken refuge in the remote northeast backlands of Brazil. Fictionalized in Mario Vargas Llosa's acclaimed novel, War at the End of the World, Canudos is a pivotal episode in Brazilian social history. When looked at through the eyes of the inhabitants of Canudos, however, this historical incident lends itself to a bold new interpretation which challenges the traditional polemics on the subject. While the Canudos movement has been consistently viewed either as a rebellion of crazed fanatics or as a model of proletarian resistance to oppression, Levine deftly demonstrates that it was, in fact, neither. Vale of Tears probes the reasons for the Brazilian ambivalence toward its social history, giving much weight to the fact that most of the Canudenses were of mixed-race descent. They were perceived as opponents to progress and civilization and, by inference, to Brazil's attempts to "whiten" itself. As a result there are major insights to be found here into Brazilians' self-image over the past century.