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- Capital fictions the literature of Latin America's export age
- Bulletin of Latin American Research (BLAR) 35 (2016), 1
- Ode to the banana tree, by Ericka Beckman (Le Monde diplomatique - English edition, December )
Correspondencia del exterior.
Quoted in: Mayor Mora, El fique. Su cultivo y beneficio industrial. Modelo de Hilado del fique. El cultivo del fique. Industrias Nacionales , Nueva industria. Palau, A. Pinillos, J. La Patria. Railroad Gazette. Revista oficial y noticiosa. Agosto 2 de Memoria sobre el cultivo y valor comercial e industrial de la planta llamada sansevieria guineensis. Imprenta de Ignacio Borda. Anotaciones sobre la industria de la cabuya. Barba, R. Guia para viajar por el departamento de Antioquia. Industria algodonera. Industria Nacional Colombiana. Antioquia industrial. International Bureau of the American Republics.
Breadstuffs in Latin America. Washington: Government Printing Office. Para el certamen industrial de Lyster H. Sisal and henequen, plants yielding fiber for binder twine. Washington, D. Ministerio de Relaciones Exteriores de Colombia. Nickel, H. Arnold Bergstraesser Institut. Nueva York: D. Appleton and Company. Resumen de labor Asuntos Colombianos. Londres: Wertheimer, Lea. Restrepo Tirado, E. Secretaria de Agricultura y Fomento de Antioquia.
Cultivo de la cabuya en Antioquia. Vergara y Velasco, F.
Aguas, S. Elite empresarial y desarrollo industrial en Barranquilla Beatty, E. Technology and the Search for Progress in Modern Mexico. Beckman, E. Minneapolis: University of Minnesota Press. KI: el drama de un pueblo y de una planta.
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Botero Herrera, F. Brew, R. Bucheli, M. Organizations in Time: History, Theory, Methods. Bulmer-Thomas, V. Cambridge University Press. Campuzano Hoyos, J. Fuentes documentales para la historia empresarial. Siglo XIX en Antioquia. Campuzano-Hoyos, J. Tocando fibras. El caso de Antioquia. Una historia entretejida. Correa, M. Grupo de Historia Empresarial Eafit. La industria en Antioquia, Tomo II. Campuzano-Hoyos, Ed. Haber, S. Stanford, Calif. Maiguashca, J.
In Maiguashca, Juan, S. Oxford: Oxford University Press. Brazilian modernists revolted against European influences that had dominated the arts in Brazil. If Spanish-American modernism primarily encompassed poetic and literary innovation in form and Latin American tradition, modernism in Portuguese-speaking Latin America was a substantially different kind of movement.
It added new traditions to old, creatively blended local and international cultures, and joined popular culture with high cultures. Modernism in Brazil appeared much later than it did in Spanish-speaking Latin America. Arguably, the first modernist phase in Brazil spans to This crucial week was organized into three festivals: painting and sculpture, literature and poetry, and music.https://marrorecathank.tk/the-tent.php
Capital fictions the literature of Latin America's export age
Many of the Brazilian modernists adapted ideas and language they experienced in Paris in the s by applying European avant-garde themes to their own nativist art. The Week of Modern Art featured paintings by Anita Malfatti and Tarsila do Amaral, poetry readings that included deliberately experimental, intentionally ungrammatical use of the Portuguese language, manifesto readings, and concerts.
The classical composer Heitor Vila-Lobos added percussion and folk music to traditional works. One seeming result of the festival was to take art out of the academy and associated privileged institutions and bring it closer to more social groups, all in more popular and accessible ways. Tarsila do Amaral represented the nativist movement called Pau-Brasil a native Brazilian tree with reddish wood.
Lasar Segall moved from German expressionism to a cubist style, as seen in Banana Plantation Paintings had less to do with the everydayness of Pau-Brasil and became more oneiric and mythic. Such events affected the arts world and combined to bring the first phase of modernism to a close. The second phase of modernism in Brazil, from to , featured greater interest in social art while maintaining modernist stylistic techniques.
Both groups emphasized the perfection of technique.
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His modernism was influenced by Mexican muralism and cubism. The Brazilian government commissioned his murals in public and government buildings. Although production of predominantly modernist painting declined around , access to an overview of the movement was just becoming possible around this time.
Bulletin of Latin American Research (BLAR) 35 (2016), 1
These brought together many paintings that had been in private collections and made them accessible to the general population. In turn, more modern art centres were established. French cubism and Italian futurism , while then adding some native components e. Within this new direction, some salient characteristics of Brazilian modernism are captured within an appreciation of Indigenous and Black elements.
In an apparent contradiction, together with the appreciation of Indian and Black elements, this Brazilian modernism retained aristocratic components in which there were careful and self-aware moves by the white elite to appropriate and nationalize modernism, so as to continue to control the course of cultural developments. Hybridity, or blurring the distinction between tradition and modernism, and between the national and the cosmopolitan, was another modernist characteristic. In literature, the first phase of modernism saw competing artistic and political ideologies.
Oswald de Andrade represented the left. Brazilians surpassed some limiting nationalist trends such as verdamarelismo green-and-yellowism, the national colours , practiced by the novelist and fascist leader Plinio Salgado and by the poet-historian Cassiano Ricardo.
Ode to the banana tree, by Ericka Beckman (Le Monde diplomatique - English edition, December )
How best to represent the uniqueness of Brazilian character was the focus of national debate. While many of the early Brazilian modernists excelled in poetry and painting, more of the second-wave modernists were novelists and architects. Perhaps the most highly regarded novelist of the period, however, is Graciliano Ramos, who was less a regionalist writer than a psychological realist and stylistic innovator whose novels happen to be set in the arid northeast. Machado was a psychiatrist who wrote 11 novels, among them Os Ratos , which covers a day in the life of a lower middle-class protagonist.
In this workshop, participants will discuss Dr. This essay explores how two key works of mid-twentieth-century fiction registered the uneven and contradictory dynamics of rural modernization in Latin America. Drawing from these two texts, the author points to larger ways in which Latin American fiction depicted the creation and destruction of rural worlds during the long twentieth century. Focusing on the many instances of magic and witchcraft in the novel—most often interpreted as markers of indigeneity or cultural hybridity — Beckman argues that these supernatural elements structure fantasies in which ladino white landowners imagine their own destruction by indigenous monsters.
More broadly, drawing from additional examples, this talk opens onto questions of 1 the recurrence of gothic form as an expression of oligarchic decline; 2 indigenous magic as a register of the uneven and combined development of the latifundia system in twentieth-century Latin America.