By Darlene J. Sadlier
The 1st entire cultural historical past of Brazil to be written in English, Brazil Imagined: 1500 to the current captures the function of the inventive imaginary in shaping Brazil's nationwide identification. studying representations of Brazil in the course of the international, this formidable survey demonstrates the ways that existence in a single of the world's biggest international locations has been conceived and revised in visible arts, literature, movie, and quite a few different media. starting with the 1st explorations of Brazil by means of the Portuguese, Darlene J. Sadlier contains broad resource fabric, together with work, historiographies, letters, poetry, novels, structure, and mass media to track the nation's transferring experience of its personal background. subject matters contain the oscillating topics of Edenic and cannibal encounters, Dutch representations of Brazil, regal constructs, the literary imaginary, Modernist utopias, "good neighbor" protocols, and filmmakers' progressive and dystopian photographs of Brazil. an impressive panoramic learn of race, imperialism, average assets, and different subject matters within the Brazilian adventure, this landmark paintings is a boon to the sphere. (201010)
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Additional resources for Brazil Imagined: 1500 to the Present (William and Bettye Nowlin Series in Art, History, and Culture of the Western Hemisphere)
I, however, who have seen them, know and confidently affirm the opposite. The indigenous inhabitants . . leave the maternal womb as beautiful and clean as children born in Europe. If with the passage of time hair appears on certain parts of the body, as it happens with any person—they pull it out with their fingernails, maintaining only the hair on their heads. This is a custom to which they attach much honor—the men as much as the women. (191) This passage is intriguing because while Thevet decries the falseness of popular and painterly images of native Brazilians as hairy beings, he offers equally questionable visual representations of the native population.
It is not clear if the artist had actually traveled to Brazil, but the physical representation of the local population is in many ways more realistic than some later illustrations. Like an iconic signature, two caravels appear in the upper right corner to mark the European presence. 1 Early woodcut of native Brazilians (1505). Basel edition of Mundus novus. Spencer Collection, New York Public Library, Astor, Lenox and Tilden Foundations. 22 The popularity of Mundus novus cannot be overemphasized: it announced to readers that a “new world” existed, a faraway utopia of extreme natural beauty—not unlike the Atlantic islands described by myth and lore over the centuries.
Whose land is very fertile and healthy, whose good airs are fresh and cleansed, and whose waters are cold and refreshing” (Sousa 1971, 39). Sousa praised the many large and safe ports; the abundance of timber, which exceeded that in any other part of the world; the animals, fish, fruits, and sugar that rivaled those of Spain; and the plentiful precious metals and stones. Interestingly, the court historian Damião de Góis—who, unlike João de Barros before him and Gândavo shortly after, never traveled to Brazil—recounted the discovery of Brazil in far greater detail in his Crônica do felicíssi- 50 | brazil imagined mo rei D.