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Claude Levi-Strauss, internationally known as a brilliant and sometimes controversial anthropologist, is also a skilled and sensitive photographer. Saudades do Brasil - "nostalgia for Brazil", from the title of a musical composition by Darius Milhaud - presents 180 of the more than 3,000 photographs Levi-Strauss took in Brazil between 1935 and 1939. While serving as professor of sociology at the University of Sao Paulo, the young ethnographer made expeditions among the natives of Mato Grosso and Southern Amazonia that resulted in numerous publications, most notably Tristes Tropiques. Most of these photographs are published here for the first time. Levi-Strauss begins his photographic memoir in Sao Paulo, then a frontier city rapidly changing to an industrial metropolis, a city with "a singular beauty, due to breaks in rhythm, architectural paradoxes, contrasting shapes and colors". The rest of the photographs chronicle Levi-Strauss expeditions among the Caduveo, The Bororo, the Nambikwara, and other tribes - "the last escapees from the cataclysm that discovery and subsequent invasions had been for their ancestors". His pictures capture the Amazonian landscape, the people, and their activities, social lives, and ceremonies. Informative captions by Levi-Strauss enhance the ethnographic and human interest of his photographs. Saudades do Brasil will be of interest to anthropologists, photographers, and readers concerned with a part of the world that is geographically remote but globally significant.
Japanese Brazilian Saudades explores the self-definition of Nikkei discourse in Portuguese-language cultural production by Brazilian authors of Japanese ancestry. Ignacio López-Calvo uses books and films by twentieth-century Nikkei authors as case studies to redefine the ideas of Brazilianness and Japaneseness from both a national and a transnational perspective. The result suggests an alternative model of postcoloniality, particularly as it pertains to the post–World War II experience of Nikkei people in Brazil. López-Calvo addresses the complex creation of Japanese Brazilian identities and the history of immigration, showing how the community has used writing as a form of reconciliation and affirmation of their competing identities as Japanese, Brazilian, and Japanese Brazilian. Japanese in Brazil have employed a twofold strategic, rhetorical engineering: the affirmation of ethno-cultural difference on the one hand, and the collective assertion of citizenship and belonging to the Brazilian nation on the other. López-Calvo also grapples with the community’s inclusion and exclusion in Brazilian history and literature, using the concept of “epistemicide” to refer to the government’s attempt to impose a Western value system, Brazilian culture, and Portuguese language on the Nikkeijin, while at the same time trying to destroy Japanese language and culture in Brazil by prohibiting Japanese language instruction in schools, Japanese-language publications, and even speaking Japanese in public. Japanese Brazilian Saudades contributes to the literature criticizing the “cognitive injustice” that fails to acknowledge the value of the global South and non-Western ways of knowing and being in the world. With important implications for both Latin American studies and Nikkei studies, it expands discourses of race, ethnicity, nationality, and communal belonging through art and narrative.
When Claude Lévi-Strauss passed away in 2009 at age 100, France celebrated the life and contributions of not only a preeminent anthropologist, but one of the defining intellectuals of the 20th century. Just as Freud had shaken up the antiquarian discipline of psychiatry, so had Lévi-Strauss revolutionized anthropology, transforming it from the colonial-era study of “exotic” tribes to one consumed with fundamental questions about the nature of humanity and civilization itself. Remarkably, there has never been a biography in English of the enigmatic Claude Lévi-Strauss. Drawing on a welter of original research and interviews with the anthropologist, Patrick Wilcken’s Claude Lévi-Strauss fills this void. In rich detail, Wilcken recreates Levi-Strauss’s peripatetic life: his groundbreaking fieldwork in some of the remotest reaches of the Amazon in the 1930s; his years as a Jew in Nazi-occupied France and an emigré in wartime New York; and his return to Paris in the late 1940s, where he clashed with Jean-Paul Sartre and fundamentally influenced fellow postwar thinkers from Jacques Lacan to Michel Foucault and Roland Barthes. It was in France that structuralism, the school of thought he founded, first took hold, creating waves far beyond the field of anthropology. In his heyday, Levi-Strauss was both a hero to contemporary intellectuals, and an international celebrity. In Claude Levi-Strauss, Wilcken gives the reader a fascinating intellectual tour of the anthropologist’s landmark works: Tristes Tropiques, his most famous book, a literary meditation on his travels and fieldwork; The Savage Mind, which showed that “primitive” people are driven by the same intellectual curiosities as their Western counterparts, and finally his monumental four-volume Mythologiques, a study of the universal structures of native mythology in the Americas. In the years that Lévi-Strauss published these pioneering works, Wilcken observes, tribal societies seemed to hold the answers to the most profound questions about the human mind. Following the great anthropologist from São Paulo to the Brazilian interior, and from New York to Paris, Patrick Wilcken’s Claude Lévi-Strauss is both an evocative journey and an intellectual biography of one of the 20th century’s most influential minds.
Japanese Brazilian Saudades explores the self-definition of Nikkei discourse in Portuguese-language cultural production by Brazilian authors of Japanese ancestry. Ignacio López-Calvo uses books and films by twentieth-century Nikkei authors as case studies to redefine the ideas of Brazilianness and Japaneseness from both a national and a transnational perspective. The result suggests an alternative model of postcoloniality, particularly as it pertains to the post–World War II experience of Nikkei people in Brazil. López-Calvo addresses the complex creation of Japanese Brazilian identities and the history of immigration, showing how the community has used writing as a form of reconciliation and affirmation of their competing identities as Japanese, Brazilian, and Japanese Brazilian. Japanese in Brazil have employed a twofold strategic, rhetorical engineering: the affirmation of ethno-cultural difference on the one hand, and the collective assertion of citizenship and belonging to the Brazilian nation on the other. López-Calvo also grapples with the community’s inclusion and exclusion in Brazilian history and literature, using the concept of “epistemicide” to refer to the government’s attempt to impose a Western value system, Brazilian culture, and Portuguese language on the Nikkeijin, while at the same time trying to destroy Japanese language and culture in Brazil by prohibiting Japanese language instruction in schools, Japanese-language publications, and even speaking Japanese in public. Japanese Brazilian Saudades contributes to the literature criticizing the “cognitive injustice” that fails to acknowledge the value of the global South and non-Western ways of knowing and being in the world. With important implications for both Latin American studies and Nikkei studies, it expands discourses of race, ethnicity, nationality, and communal belonging through art and narrative.
A richly illustrated examination of photography as a technology for documenting, creating, and understanding the processes of modernization in turn-of-the-century Brazil and the Amazon Photography at the turn of the twentieth century was not only a product of modernity but also an increasingly available medium to chronicle the processes of modernization. Traces of the Unseen: Photography, Violence, and Modernization in Early Twentieth-Century Latin America situates photography’s role in documenting the destruction wrought by infrastructure development and extractive capitalist expansion in the Amazon and outside the Brazilian metropole. Combining formal analysis of individual photographs with their inclusion in larger multimedia assemblages, Carolina Sá Carvalho explores how this visual evidence of violence was framed, captioned, cropped, and circulated. As she explains, this photographic creation and circulation generated a pedagogy of the gaze with which increasingly connected urban audiences were taught what and how to see: viewers learned to interpret the traces of violence captured in these images within the larger context of modernization. Traces of the Unseen draws on works by Flavio de Barros, Euclides da Cunha, Roger Casement, Claude Lévi-Strauss, and Mario de Andrade to situate an unruly photographic body at the center of modernity, in all its disputed meanings. Moreover, Sá Carvalho locates historically specific practices of seeing within the geopolitical peripheries of capitalism. What emerges is a consideration of photography as a technology through which modern aspirations, moral inclinations, imagined futures, and lost pasts were represented, critiqued, and mourned.
A young boy, thin and ill, feeds his small brother in a ritualized act of desperation, half-stifling him. The boy will be treated, his father will get a job, and the family will be moved from their shack in the slums of Rio de Janeiro to a suburban house, courtesy of the American viewers of Gordon Parks's photographs in Life magazine. It all turned
This special issue of Luso-Brazilian Review includes articles on the Lusophone South Atlantic by historians of Africa and Brazil originally presented in May of 2006 at the Michigan State University and University of Michigan’s Atlantic History Workshop “ReCapricorning the Atlantic: Luso-Brazilian and Luso-African Perspectives on the Atlantic World.” Workshop participants set out to “ReCapricorn the Atlantic” by assessing how new research on the Lusophone South Atlantic modifies, challenges, or confirms major trends and paradigms in the expanding scholarship on Atlantic History.