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The essays gathered in Magazines and Modernity in Brazil explore transnational topics such as architecture; cosmopolitanism and universalism; antisemitism, anti-war movements; visual artistic movements; advertising; anti-racism; avant-garde; class; consumer society; design; ethnicity and race; fascism and anti-fascism; intellectual elites; literature; modernity; publishing; translation, as well as book and periodical exchange, which is the main focus of this collection.Together, these essays propose a critique of traditional comparatist approaches, promoting instead the study of contact zones and intersections, highlighting the place of production and reception of cultural products, as well as the role of mediators. What guide these analyses of magazines are concepts such as connected and shared histories, which emphasize transnational interactions. Within the spectrum of global history, this collection is related to a recent body scholarship on cultural transfers, which opened a fertile field for new research based on the analysis of transnational movements not only of ideas but also of networks and magazines.Organized chronologically, the chapters explore a period from the mid-nineteenth century to the aftermath of World War II, always having key magazines as the focus of analysis. The authors deliberately move away from traditional comparative approaches, in which two or more nations are set as a parameter, leading to emphasize their similarities and differences in a rigid framework that does not take into account interactions and cross-pollination of cultures and ideas. Some of the keywords that appear here are transnational models, global, circulation, mediation, hybridity, mestizaje, as well as histories that are shared and connected. These keywords help the authors to analyse the formation and development of the participation of Brazil in the global, modern periodical print culture. However, it should be noted that the purpose of this book is not to suggest a supposed singularity of the Brazilian case. The contribution of this volume of essays is precisely the opposite of this, showing how modernity in Brazil, including what is conventionally called modernism, is a complex expression of transnational movements and cross-cultural exchanges.

'Music Scenes and Migrations' brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged - such as São Paulo, Lisbon and Madrid - where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical 'mainstream'.The contributions to the volume are grouped according to three key thematic areas. 'Colonial and Post-Colonial Transnationalisms, Migrations and Diasporas' focuses on the musical movements and fluxes that have traversed the Atlantic world since the colonial period, including the diasporic extensions of African music-making; the role of early forms of mechanical music-recording in mediating between Portuguese and Brazilian popular songs in nineteenth-century Rio de Janeiro; the story of música caipira in articulating the 'rooting' and 'uprooting' migratory experience of the São Paulo peasantry in the twentieth century; and the contemporary phenomenon of Brazilian musicians living in the cities of Lisbon and Madrid, where they negotiate the needs and expectations of their expatriate communities, tourists and local audiences.'Relocating Rio de Janeiro' considers how, in its identification with key musical traditions such as samba, pagode and choro, the city has been a contested space - geographically, symbolically and politically - whether in the memories and mythologies of key neighbourhoods and locations of music-making as expressed in the musical discourses themselves, through music's involvement in the material forms of community life and popular culture, including religion, carnival and other festivals, or through the competing claims of official state institutions and policies, the recording industry and grassroots communitarian initiatives.The essays in 'Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies' explore how contemporary developments in the independent, underground and peripheral music scenes in Brazil and Portugal have challenged traditional narratives and hierarchies that dichotomized the field in terms of national tradition v. internationalism, mainstream v. margins, pop v. popular. Genres such as sertaneja universitária, funk, heavy metal, Brazilian jazz and instrumental music, post-Vanguarda Paulista MPB and rap are considered in the light of profound shifts in the economy and technology of the music industry, including fluctuations in the recording sector, the internationalization of audiences, and the rise of YouTube, among other video-based digital platforms, as a predominant medium for the consumption of music.

Brazil, the world's largest sugar producer, supplies 16 per cent of its energy consumption and approximately three quarters of its transport fuels with sugarcane-based ethanol. From ca. 2003 until 2014, the country under the Workers' Party government aimed at creating a global market for ethanol. The time seemed right to steer foreign policy towards this goal due to a benevolent structural environment with global discussions about energy security, climate change, and South-South cooperation. Within a neoclassical realist framework, this study examines why Brazil did not fully succeed in its ethanol diplomacy to create a global market for ethanol. The analysis covers three analytical levels: the bilateral with Brazil in power deficit, the bilateral with Brazil in power surplus, and the multilateral, represented in three empirical chapters, Brazil-US, Brazil-Mozambique, and Brazil's multilateral ethanol diplomacy, respectively. Each chapter finishes with a set of recommendations for political consideration. This study also demonstrates how the theoretical approach of neoclassical realism can combine foreign policy output with international politics outcome research and is useful to analyse policy outside the hard security realm. It offers a basis for further research towards an understanding of Brazil's overall foreign policy and the foreign policies of other emerging powers.

This book looks beyond the British Empire and the Slavery Abolition Act to focus on Brazil as the final frontier of Britain's centuries-long involvement with transatlantic slavery.

Brazil and the Transnational Human Rights Movement, 1964-1985 is about how Brazilians and European solidarity networks collaborated to resist dictatorship in Brazil and contribute to a more expansive definition of human rights.

The book discusses the representation of Amazonian indigenous cultures in temporary exhibitions taking place between the 1980s and 2010 through the analysis of selected case studies of these exhibitions held in major institutions in Europe, South America and the United States, including the British Museum, Musee du Quai Branly, Centre George Pompidou, Museum of Modern Art of New York, Sao Paulo Biennial and Sao Paulo Art Museum. Drawing on extensive archival research, the book is richly illustrated and presents a range of exhibition documentation never published before. The book takes as a starting point the theoretical discussions that emerged in the 1980s stimulating the development of notions of 'decolonising' or 'indigenising' the museum as well as of practices of collaboration between museums and indigenous communities. Forty years on from the outset of these debates, the book proposes a critical inquiry on how these discussions inflected on exhibition practices in the following decades, focusing in particular on how 'major' institutions (ethnographic museums, art museums and art biennials) have responded to these debates.The results of the research suggest that practice has fallen behind theory and that most 'major' institutions or museums within Europe and the United States are still only marginally engaging with Amazonian indigenous peoples in the organisation of exhibitions. The book advances the concept of 'minor curating' as a strategy to potentiate access of indigenous peoples to historical collections held by major institutions and to facilitate the development of cultural projects with these collections and in ways that are culturally, historically and politically effective. The book has an interdisciplinary reach contributing to the fields of visual anthropology, curatorial studies, museum studies and exhibition history and covering a geographical area that has been overlooked within these fields.