The interactions between the elites and the lower classes of Latin America are explored from the divergent perspectives of three eminent historians in this volume. The result is a counterbalance of viewpoints on the urban and the rural, the rich and the poor, and the Europeanized and the traditional of Latin America during the late nineteenth and early twentieth centuries.

E. Bradford Burns advances the view that two cultures were in conflict in nineteenth-century Latin America: that of the modernizing, European-oriented elite, and that of the “common folk” of mixed racial background who lived close to the earth. Thomas E. Skidmore discusses the emerging field of labor history in twentieth-century Latin America, suggesting that the historical roots of today’s exacerbated tensions lie in the secular struggle of army against workers that he describes. In the introduction, Richard Graham takes issue with both authors on certain basic premises and points out implications of their essays for the understanding of North American as well as Latin American history.

Demonstrating how art and literature remain vital to alternative imaginaries beyond the power of imperialism and modernization

Imperial Decay: Literature, Autonomy, and the End of Modernization in the Americas employs a dynamic, comparative approach to contemporary literature and visual art, showing how fiction, photography, poetry, and film from Latin America and the United States vividly illuminate the present. Focusing on the period from the end of the Cold War to the financial crisis of the late 2000s, Emilio Sauri contends that what brings these media together is not just the history of hemispheric connections but also, and more strikingly, the question of the artwork’s autonomy.

Elaborating on influential accounts that reveal how US hegemony in Latin America and the resistance it inspired throughout the region are bound up with the promise of modernization, Imperial Decay offers unique insights into the hollowing out of this promise at the end of the so-called American Century. Tracing this commitment back to the modernisms of the last century and forward to more recent works, this book casts canonical figures such as Ernest Hemingway, Walker Evans, and Gabriel García Márquez in a new and necessary light while developing a compelling interpretive framework for contemporary writers and artists from across the region, including Roberto Bolaño and Benjamin Kunkel, Alejandro Cartagena and Yvonne Venegas, and Kleber Mendonça Filho. Ultimately, Sauri shows why the work of art remains vital to the task of envisioning alternatives to the immiserations, ecological devastation, and degraded forms of life wrought by imperial decay.

This is a fascinating inquiry into the factors that determine the acceptance or rejection of capitalism by the industrial working class. Combining classical social theory, historical evidence, and survey data, Waisman explores the relationship between the degree of modernization and the legitimacy of the capitalist social order.

Propositions about the interaction between established elites and emerging working classes are illustrated with three typical cases: Disraelian Britain, Bismarckian Germany, and Peronist Argentina. From the contrasting theories of Marx and Bakunin, the author derives hypotheses concerning the position of the working class in the economy and the consequences this has for legitimacy. He finds that countries at middle levels of industrial development—mostly latecomers to industrialization in Southern Europe and advanced areas of Latin America—have the greatest difficulty in establishing capitalism as a legitimate social order. They are advanced enough to have a large working class, yet underdeveloped enough to have a dissatisfied one.

Since its founding in 1930 the Peruvian Aprista party (APRA) has occupied a place of signal importance in the Peruvian political spectrum, and it is one of the most important political parties to appear in twentieth-century Latin America. Modernization, Dislocation, and Aprismo is the first major analysis of the social and political bases of the Aprista movement. Previous studies of APRA had been chiefly descriptive in nature and did not utilize modern social science approaches in analyzing the movement.

Peter F. Klarén’s major thesis is that APRA emerged in the 1930s as a direct political response to the far-reaching dislocative impact of modernization within the Peruvian sugar industry, a process that unfolded over a period of about four decades beginning in the 1890s and that substantially upset and transformed the traditional structure of society along the north coast.

Jolted by the effects of modernization, elements of the old middle and lower sectors grew increasingly hostile to the existing order. Joined by the new proletariat that was beginning to voice its collective grievances by means of the unionization process, this large, alienated segment of northern society responded overwhelmingly in 1931 to the reformist appeal of the new Aprista party. APRA, many of whose leaders were products of this environment, best expressed politically the general mood of alienation and rebellion of the area’s discontented. The eruption of the bloody and abortive Trujillo Revolution of 1932 is considered as the culmination of this process of social and economic dislocation.

In addition to presenting a major new interpretation of the origins of the Aprista movement, this study places the Aprista party in the larger Latin American context by comparing APRA with other political movements in Mexico, Brazil, Argentina, and Cuba that were responding to similar modernization phenomena.

This study is based not only on a large body of official party literature and local newspapers for the period, but also on the newly discovered records of the Archivo de la Cámara de Comercio, Agricultura e Industria of the Department of La Libertad for the years 1904–1932.

Beginning in the 1950s, the theory of modernization emerged as the dominant paradigm of economic, social, and political development within the American foreign policy establishment. Purporting to explain the stages through which all nations pass on the road to industrial modernity, it provided a rationale for a broad range of cultural and political projects aimed at fostering Third World growth while simultaneously combating communism. 

But modernization theory was more than simply an expression of Cold War ideology. As the essays in this volume show, the ideal of modernization proliferated throughout the postcolonial world and across ideological lines in places as diverse as East Asia, Southern Africa, and South Asia. Indeed, it was embraced by all who shared the American enthusiasm for the increased production and higher standards of living promised by industrialization—enemies and allies alike. 

Situating modernization theory historically, Staging Growth avoids conventional chronologies and categories of analysis, particularly the traditional focus on conflicts between major powers. The contributors employ a variety of approaches—from economic and intellectual history to cultural criticism and biography—to shed fresh light on the global forces that shaped the Cold War and its legacies. Most of the pieces are comparative, exploring how different countries and cultures have grappled with the implications of modern development. At the same time, all of the essays address similar fundamental questions. Is modernization the same thing as Westernization? Is the idea of modernization universally valid? Do countries follow similar trajectories as they undertake development? Does modernization bring about globalization? 

In addition to the editors and Akira Iriye, contributors include Michael Adas, Laura Belmonte, Gregg Andrew Brazinsky, Christina Klein, J. Victor Koschmann, and Michael R. Mahoney.

Winner of the 2024 Roberto Reis Book Award
Winner of the LASA Environment Section Best Book of 2023
Winner of the LASA Amazonian Studies Section Best Book of 2024 
Co-Winner of the LASA Book Award for the Visual Culture Studies 2024

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.