AS CRÔNICAS DO BRASIL, pouco conhecidas do público brasileiro é uma das primeiras a apresentar também o texto completo desenvolvido por Kipling, em edição bilíngue. Publicadas inicialmente em sete artigos publicados no Morning Post entre 29 de novembro e 20 de dezembro de 1927, posteriormente foram reunidas nas Edições de Sussex, destinadas a colecionadores, cuja maioria das cópias aparentemente foi destruída a Segunda Guerra Mundial. AS CRÔNICAS DO BRASIL contém as vividas, apuradas e intuitivas impressões de Rudyard Kipling sobre o Brasil e o povo brasileiro. Este livro é inevitavelmente um item de colecionador, mas também é muito mais que isso: uma agradável leitura e a chave para entendermos como o Brasil era visto e admirado pelos grandes escritores do século XX. Em seus últimos anos de vida, Kipling sofria de graves problemas no aparelho digestivo e que eventualmente vir-lhe-iam matar alguns anos depois. Entre os anos de 1925 e 1927, seu médico, recomendou-lhe uma longa viagem de navio, e aproveitando a ocasião, Kipling vem realizar nesta viagem um grande sonho que já era conhecido deste a publicação de Apenas Algumas Histórias. A viagem desenrolou-se em cinco semanas de trabalho árduo sob o clima tropical, da qual o presente volume trazido pela primeira vez ao público brasileiro pela EDITORA LANDMARK foi o seu resultado. O livro também oferece uma das especialidades da EDITORA LANDMARK: o texto traduzido ao lado do texto original, o que permite ao leitor uma comparação rápida e atualizada da obra, resgatando todas as minúcias dos textos, apresentando a crítica social de sua época aos costumes e ao padrão de vida ingleses, além de apresentar corretamente a ironia e o sarcasmo de seu estilo, presente mesmo nos textos de temática mais simples.

This research evaluates whether the new model of investment agreement developed by Brazil (CFIA) is a mechanism for enhancing protection and respect for social and economic rights. The research starts by exploring the origins of investment treaties, their development and main characteristics. It examines why investment treaties and socio-economic rights are related, by mapping cases in which investment treaties have already impaired the protection of such rights. The research then analyzes how these two issues shall be jointly handled. It considers international organizations? initiatives to regulate business and human rights and investment treaties? frameworks that foster sustainable development, as well as new investment agreements? models developed by different countries, and then suggests criteria for evaluating whether an investment treaty is adequate from the socio-economic rights standpoint. Finally, this research investigates the CFIA model, brings a brief historical overview, evaluates CFIAs? wording, and examines how some CFIAs? institutional mechanisms consider corporate social responsibility issues. In conclusion, this research asserts that the CFIA model can be a mechanism for enhancing protection and respect for socio-economic rights, but some concerns (particularly related to safeguarding States? regulatory space and providing for stronger obligations to investors and States to protect human rights) need to be addressed.

An exploration of the innovative, quintessentially Brazilian painter who merged modernism with the brilliant energy and culture of her homeland Tarsila do Amaral (1886-1973) was a central figure at the genesis of modern art in her native Brazil, and her influence reverberates throughout 20th- and 21st-century art. Although relatively little-known outside Latin America, her work deserves to be understood and admired by a wide contemporary audience. This publication establishes her rich background in European modernism, which included associations in Paris with artists Fernand Léger and Constantin Brancusi, dealer Ambroise Vollard, and poet Blaise Cendrars. Tarsila (as she is known affectionately in Brazil) synthesized avant-garde aesthetics with Brazilian subjects, creating stylized, exaggerated figures and landscapes inspired by her native country that were powerful emblems of the Brazilian modernist project known as Antropofagía. Featuring a selection of Tarsila's major paintings, this important volume conveys her vital role in the emerging modern-art scene of Brazil, the community of artists and writers (including poets Oswald de Andrade and Mário de Andrade) with whom she explored and developed a Brazilian modernism, and how she was subsequently embraced as a national cultural icon. At the same time, an analysis of Tarsila's legacy questions traditional perceptions of the 20th-century art world and asserts the significant role that Tarsila and others in Latin America had in shaping the global trajectory of modernism.

Contains scholarly evaluations of books and book chapters as well as conference papers and articles published worldwide in the field of Latin American studies. Covers social sciences and the humanities in alternate years.

Official and popular celebrations marked the Brazilian empire's days of national festivity, and these civic rituals were the occasion for often intense debate about the imperial regime. Hendrik Kraay explores the patterns of commemoration in the capital of Rio de Janeiro, the meanings of the principal institutions of the constitutional monarchy established in 1822–24 (which were celebrated on days of national festivity), and the challenges to the imperial regime that took place during the festivities. While officialdom and the narrow elite sought to control civic rituals, the urban lower classes took an active part in them, although their popular festivities were not always welcomed by the elite. Days of National Festivity is the first book to provide a systematic analysis of civic ritual in a Latin American country over a long period of time—and in doing so, it offers new perspectives on the Brazilian empire, elite and popular politics, and urban culture.

Modernity in Black and White provides a groundbreaking account of modern art and modernism in Brazil. Departing from previous accounts, mostly restricted to the elite arenas of literature, fine art and architecture, the book situates cultural debates within the wider currents of Brazilian life. From the rise of the first favelas, in the 1890s and 1900s, to the creation of samba and modern carnival, over the 1910s and 1920s, and tracking the expansion of mass media and graphic design, into the 1930s and 1940s, it foregrounds aspects of urban popular culture that have been systematically overlooked. Against this backdrop, Cardoso provides a radical re-reading of Antropofagia and other modernist currents, locating them within a broader field of cultural modernization. Combining extensive research with close readings of a range of visual cultural production, the volume brings to light a vast archive of art and images, all but unknown outside Brazil.