By Tom Winterbottom
This e-book stories 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 in the course of the background of town. This learn bargains 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 striking feature—decadence—at the guts of this detailed and probably undying city global. An cutting edge and in-depth research of constructions, books, and characters within the city’s glossy heritage, this basic new paintings units the reader within the excellent international of Rio de Janeiro.
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Extra resources for A Cultural History of Rio de Janeiro after 1889 : Glorious Decadence
Nunca vi terra tão gente / nem gente tão florival” is the wonderful original phrasing. Carlos Drummond de Andrade, “Canto do Rio em sol,” Lição de Coisas (José Olympio: Rio de Janeiro, 1962), 63. Alain Rey, Dictionnaire Historique de la Langue Française (Paris: Le Robert, 2006), 1004. Ibid. David Weir, Decadence and the Making of Modernism (Amherst: University of Massachusetts Press, 1995), xvii. Chris Baldick and Jane Desmarais, Decadence: An Annotated Anthology (Manchester: Manchester University Press, 2012), 5.
Rio de Janeiro is not just the backdrop to people’s lives (those who live there or visit), rather, as much as any other city, it speaks to people and has a personality. Its presence and commotion act as existential markers in people’s lives. In the cultural realm and most clearly shown in architecture and literature, the city does not simply stay in the background as nothing more than a convenient setting or an object to be described from an ontological distance. Rather, it is part of a dynamic dialogue between the human and the non-human in one complex whole.
Within that framework, saudades emerged as a powerful and counter-discursive characteristic; rather than only looking to an imagined and idealized future, an impulse gained strength in Brazilian identity that was fundamentally nostalgic and melancholic. As such, projections of the past and the future were mediated by this complex characteristic, which implies a sense of absence, a dislocation, 32 T. WINTERBOTTOM a status of not-quite-being-completed, in a layered present temporality. It is here, within this relationship to time, that we can view Rio de Janeiro post-1889.