Christen A. Smith argues that the dialectic of glorified representations of black bodies and subsequent state repression reinforces Brazil's racially hierarchal society. Interpreting the violence as both institutional and performative, Smith follows a grassroots movement and social protest theater troupe in their campaigns against racial violence. As Smith reveals, economies of black pain and suffering form the backdrop for the staged, scripted, and choreographed afro-paradise that dazzles visitors. The work of grassroots organizers exposes this relationship, exploding illusions and asking unwelcome questions about the impact of state violence performed against the still-marginalized mass of Afro-Brazilians.

Based on years of field work, Afro-Paradise is a passionate account of a long-overlooked struggle for life and dignity in contemporary Brazil.

In 1983, anthropologist Richard Pace began his fieldwork in the Amazonian community of Gurupá one year after the first few television sets arrived. On a nightly basis, as the community’s electricity was turned on, he observed crowds of people lining up outside open windows or doors of the few homes possessing TV sets, intent on catching a glimpse of this fascinating novelty. Stoic, mute, and completely absorbed, they stood for hours contemplating every message and image presented. So begins the cultural turning point that is the basis of Amazon Town TV, a rich analysis of Gurupá in the decades during and following the spread of television.

Pace worked with sociologist Brian Hinote to explore the sociocultural implications of television’s introduction in this community long isolated by geographic and communication barriers. They explore how viewers change their daily routines to watch the medium; how viewers accept, miss, ignore, negotiate, and resist media messages; and how television’s influence works within the local cultural context to modify social identities, consumption patterns, and worldviews.

The Roman Catholic church played a dominant role in colonial Brazil, so that women’s lives in the colony were shaped and constrained by the Church’s ideals for pure women, as well as by parallel concepts in the Iberian honor code for women. Records left by Jesuit missionaries, Roman Catholic church officials, and Portuguese Inquisitors make clear that women’s daily lives and their opportunities for marriage, education, and religious practice were sharply circumscribed throughout the colonial period. Yet these same documents also provide evocative glimpses of the religious beliefs and practices that were especially cherished or independently developed by women for their own use, constituting a separate world for wives, mothers, concubines, nuns, and witches.

Drawing on extensive original research in primary manuscript and printed sources from Brazilian libraries and archives, as well as secondary Brazilian historical works, Carole Myscofski proposes to write Brazilian women back into history, to understand how they lived their lives within the society created by the Portuguese imperial government and Luso-Catholic ecclesiastical institutions. Myscofski offers detailed explorations of the Catholic colonial views of the ideal woman, the patterns in women’s education, the religious views on marriage and sexuality, the history of women’s convents and retreat houses, and the development of magical practices among women in that era. One of the few wide-ranging histories of women in colonial Latin America, this book makes a crucial contribution to our knowledge of the early modern Atlantic World.

In 1895, forty-seven rebel military officers contested the terms of a law that granted them amnesty but blocked their immediate return to the armed forces. During the century that followed, numerous other Brazilians who similarly faced repercussions for political opposition or outright rebellion subsequently made claims to forms of recompense through amnesty. By 2010, tens of thousands of Brazilians had sought reparations, referred to as amnesty, for repression suffered during the Cold War–era dictatorship. This book examines the evolution of amnesty in Brazil and describes when and how it functioned as an institution synonymous with restitution. Ann M. Schneider is concerned with the politics of conciliation and reflects on this history of Brazil in the context of broader debates about transitional justice. She argues that the adjudication of entitlements granted in amnesty laws marked points of intersection between prevailing and profoundly conservative politics with moments and trends that galvanized the demand for and the expansion of rights, showing that amnesty in Brazil has been both surprisingly democratizing and yet stubbornly undemocratic.

In providing a detailed account of the leftist opposition and its bloody repression in Brazil during the Old Republic and the early years of the Vargas regime, John W. F. Dulles gives considerable attention to the labor movement, generally neglected by historians. This study focuses on the formation and activities of anarchists and Communists, the two most important radical groups working within Brazilian labor. Relying on a wide variety of sources, including interviews and personal papers, Dulles supplies information that for the most part is unavailable in English and not easily accessible in Portuguese.

The struggles of Brazilian workers—usually against an alliance of company owners, state and federal troops, and state and federal governments—suffered reverses in 1920 and 1921. These setbacks were cited by Astrogildo Pereira and other admirers of Bolshevism as reasons for the proletariat to forsake anarchism and adhere to the Communist Party, Brazilian Section of the Communist International.

Anarchists and Communists, struggling against each other in the labor unions in the mid 1920’s, joined opposition journalists and politicians in supporting military rebels in a romantic uprising marked by adventure and suffering, jailbreaks and long marches, and death in the backlands.

Slowly, Brazilian Communism gained strength during the latter part of the 1920’s, but 1930 brought the beginnings of failure. Worse for the Party than the government crackdown and the Trotskyite dissidence was the growing attraction of the Aliança Liberal, the oppositionist political movement that brought Getúlio Vargas to power. While workers and Party members flocked to the Aliança in defiance of Party orders, sectarian edicts from Moscow resulted in the expulsion or demotion of the Party’s former leaders and in the condemnation of intellectuals.

Luís Carlos Prestes, “the Cavalier of Hope” who had led the military rebels in the mid-1920’s, turned to Communism—only to find himself not welcome in the Party. Taken to Russia by the Communist International in 1931, he was finally accepted into the Brazilian Party in absentia in 1934. Later that year, misled in Moscow by optimistic reports brought by Brazilian Communists, he agreed to lead a rebellion in Brazil. That decision and its consequences in 1935 were disastrous to Brazilian Communism.

The struggles among anarchists, Stalinists, and Trotskyites in Brazil were reflections of a worldwide struggle. This study discloses and assesses the effects of Moscow policy changes on Communism in Brazil and contributes to an understanding of Moscow’s policies throughout Latin America during this period.

From currency and maps to heavily censored newspapers and television programming, Art Systems explores visual forms of critique and subversion during the height of Brazilian dictatorship, drawing sometimes surprising connections between artistic production and broader processes of social exchange during a period of authoritarian modernization. Positioning the works beyond the prism of politics, Elena Shtromberg reveals subtle forms of subversion and critique that reinvented the artists’ political terrain.

Analyzing key examples from Cildo Meireles, Antonio Manuel, Artur Barrio, Anna Bella Geiger, Sonia Andrade, Geraldo Mello, and others, the book offers a new framework for theorizing artistic practice. By focusing on the core economic, media, technological, and geographic conditions that circumscribed artistic production during this pivotal era, Shtromberg excavates an array of art systems that played a role in the everyday lives of Brazilians. An examination of the specific historical details of the social systems that were integrated into artistic production, this unique study showcases works that were accessed by audiences far outside the confines of artistic institutions. Proliferating during one of Brazil’s most socially and politically fraught decades, the works—spanning cartography to video art—do not conform to an easily identifiable style, form, material use, or medium. As a result of this breadth, Art Systems gives voice to the multifaceted forces at play in a unique chapter of Latin American cultural history.