The first work to draw on Nelson A. Rockefeller's newly available personal papers as well as research in Latin American archives, Missionary Capitalist details Rockefeller's efforts to promote economic development in Latin America, particularly Venezuela, from the late 1930s through the 1950s. Rockefeller's involvement in the region began in 1936 with his investment in Creole Petroleum, the Venezuelan subsidiary of Standard Oil. Almost immediately, he began trying to influence North Americans' individual, corporate, and government relationships with Latin Americans. Through his work developing technical assistance programs for the Roosevelt administration during World War II, his business ventures (primarily agricultural production and food retailing), and his postwar founding of the nonprofit American International Association, Rockefeller hoped to demonstrate how U.S. capitalists could nurture entrepreneurial spirit and work successfully with government agencies in Latin America to encourage economic development and improve U.S.-Latin American relations. Ultimately, however, he overestimated the ability of the United States, through public or private endeavors, to promote Latin American economic, political, and social change. This objective account paints a portrait of Rockefeller not as the rapacious, exploitative figure of stereotype, but as a man fueled by idealism and humanitarian concern as well as ambition.
The first work to draw on Nelson A. Rockefeller's newly available personal papers as well as research in Latin American archives, Missionary Capitalist details Rockefeller's efforts to promote economic development in Latin America, particularly Venezuela, from the late 1930s through the 1950s. Rockefeller's involvement in the region began in 1936 with his investment in Creole Petroleum, the Venezuelan subsidiary of Standard Oil. Almost immediately, he began trying to influence North Americans' individual, corporate, and government relationships with Latin Americans. Through his work developing technical assistance programs for the Roosevelt administration during World War II, his business ventures (primarily agricultural production and food retailing), and his postwar founding of the nonprofit American International Association, Rockefeller hoped to demonstrate how U.S. capitalists could nurture entrepreneurial spirit and work successfully with government agencies in Latin America to encourage economic development and improve U.S.-Latin American relations. Ultimately, however, he overestimated the ability of the United States, through public or private endeavors, to promote Latin American economic, political, and social change. This objective account paints a portrait of Rockefeller not as the rapacious, exploitative figure of stereotype, but as a man fueled by idealism and humanitarian concern as well as ambition.
Cultural diplomacy—“winning hearts and minds” through positive portrayals of the American way of life—is a key element in U.S. foreign policy, although it often takes a backseat to displays of military might. Americans All provides an in-depth, fine-grained study of a particularly successful instance of cultural diplomacy—the Office of the Coordinator of Inter-American Affairs (CIAA), a government agency established by President Franklin D. Roosevelt in 1940 and headed by Nelson A. Rockefeller that worked to promote hemispheric solidarity and combat Axis infiltration and domination by bolstering inter-American cultural ties. Darlene J. Sadlier explores how the CIAA used film, radio, the press, and various educational and high-art activities to convince people in the United States of the importance of good neighbor relations with Latin America, while also persuading Latin Americans that the United States recognized and appreciated the importance of our southern neighbors. She examines the CIAA’s working relationship with Hollywood’s Motion Picture Society of the Americas; its network and radio productions in North and South America; its sponsoring of Walt Disney, Orson Welles, John Ford, Gregg Toland, and many others who traveled between the United States and Latin America; and its close ties to the newly created Museum of Modern Art, which organized traveling art and photographic exhibits and produced hundreds of 16mm educational films for inter-American audiences; and its influence on the work of scores of artists, libraries, book publishers, and newspapers, as well as public schools, universities, and private organizations.
My stories are fragments of a larger plan, Katherine Anne Porter once wrote. And on another occasion she praised a critic who perceived that all her work, from the very beginning, was part of an "unbroken progression, all related." In Truth and Vision in Katherine Anne Porter's Fiction, Darlene Unrue examines the encompassing themes that underlie Porter's shorter fiction and that combined to create the haunting events of her complex metaphorical novel, Ship of Fools. Porter believed that men and women are compelled toward discovering the truth about their existence, but that the nature of our world makes those truths difficult to discern. In her writing, Unrue finds, Porter explored not only this basic human need to confront the truth, but also the bewilderment and suffering that are so often the results of failing to fulfill that need. Often in Porter's fiction the movement toward truth is obstructed by the hollow beliefs and illusions that abound in the world--by the seductions of ideology and dogmatic religion, by romantic love or the vision of a golden past. Clinging to such illusions, using them to lend a false coherence to their lives, Porter's characters are led away from the hard realization that truth requires accepting the existence of the unknowable at the center of life, and that what is knowable lies within themselves. Drawing on essays, reviews, letters, and notes, as well as on the intricate fabric of the fiction, this study traces Porter's pursuit of the truth through the creation of a body of fiction in which, from fragments of life, she could assemble an honest vision of the world.
The first comprehensive cultural history of Brazil to be written in English, Brazil Imagined: 1500 to the Present captures the role of the artistic imaginary in shaping Brazil's national identity. Analyzing representations of Brazil throughout the world, this ambitious survey demonstrates the ways in which life in one of the world's largest nations has been conceived and revised in visual arts, literature, film, and a variety of other media. Beginning with the first explorations of Brazil by the Portuguese, Darlene J. Sadlier incorporates extensive source material, including paintings, historiographies, letters, poetry, novels, architecture, and mass media to trace the nation's shifting sense of its own history. Topics include the oscillating themes of Edenic and cannibal encounters, Dutch representations of Brazil, regal constructs, the literary imaginary, Modernist utopias, "good neighbor" protocols, and filmmakers' revolutionary and dystopian images of Brazil. A magnificent panoramic study of race, imperialism, natural resources, and other themes in the Brazilian experience, this landmark work is a boon to the field.
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