Download A Cultural History of Rio de Janeiro after 1889 : Glorious by Tom Winterbottom PDF

By Tom Winterbottom

This ebook experiences structure and literature of Rio de Janeiro, the “Marvellous City,” from the revolution of 1889 to the Olympics of 2016, taking the reader on a trip during the historical past of the town. This research deals a wide-ranging and thought-provoking perception that strikes from ruins to Modernism, from the prior to the long run, from futebol to fiction, and from seashore to favela, to discover the impressive feature—decadence—at the center of this targeted and likely undying city global. An leading edge and in-depth examine of structures, books, and characters within the city’s sleek historical past, this basic new paintings units the reader within the excellent global of Rio de Janeiro.

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WINTERBOTTOM rival favela. My experience of the city was becoming much more complex than my first and previous visit there, when I stayed in a hotel on the beach for the reveillón (New Year’s Eve) celebrations in 2002, and had not left the South Zone. The city is both things, and more, to me: the beach and the high-rise beach neighbourhoods, cafés in Leblon, and also the informal communities that I know well in the North Zone, Maré and Jardim América, all anchored in Santa Teresa and by my friends in nearby Fallet and Prazeres favelas.

Therefore, 1922 marks the end of the period of cosmopolitan and emulatory eclecticism, and its associated vision of the future, which marked Rio’s early modern history. The second period, 1930–1964, begins with the authoritarian, nationalist rule of Getúlio Vargas, and ends when the military took power in 1964 and includes the transfer of the Brazilian capital city from Rio to Brasília in 1960. Vargas, who took power and sought to rupture with the oligarch politics of the First Republic, undertook massive urban infrastructure projects, culminating in Brazil being written about as the “country of the future” (by Austrian author Stefan Zweig, writing from near Rio in 1942) and as an international point of reference for its avant-garde state-sponsored Modernist aesthetics in architecture.

ONWARDS To give one example of the presence of saudades in the Brazilian cultural personality, coupled with the emotive gesture that it implies, we can look to Brazil’s massive defeat against Germany in the 2014 World Cup. Before the match, all the starting players wore baseball caps branded with the name of the team’s star player, Neymar, who was out of the tournament after an injury in the previous game. Then, during the national anthem, they held up a shirt bearing his name—remembering him, longing for him, and stuck with the thought of “what could have been,” even before that vital match started.

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