A book as rich and sprawling as the seductive metropolis it evokes, Rio de Janeiro builds a kaleidoscopic portrait of this city of extremes, and its history of conflict and corruption. Award-winning novelist, ex-government minister and sociologist, Luiz Eduardo Soares tells the story of Rio through the everyday lives of its people: gangsters and police, activists, politicians and struggling migrant workers, each with their own version of the city. Taking us on a journey into Rio's intricate world of favelas, beaches and corridors of power, Soares reveals one of the most extraordinary cities in the world in all its seething, agonistic beauty.
Explore the darker side of the sunny Brazilian city in this gritty mystery anthology featuring fourteen tales by writers from the region. Akashic Books continues its award-winning series of original noir anthologies, launched in 2004 with Brooklyn Noir. Each book comprises all-new stories, each one set in a distinct neighborhood or location within the respect city. With Rio Noir, the Akashic Noir series delver for the first time into South America. With stories by: Tony Bellotto, Luiz Alfredo Garcia-Roza, MV Bill, Luiz Eduardo Soares, Guilherme Fiuza, Arthur Dapieve, Victoria Saramago, Arnaldo Bloch, Adriana Lisboa, Alexandre Fraga dos Santos, Marcelo Ferroni, Flávio Carneiro, Raphael Montes, and Luis Fernando Verissimo. All stories translated from Portuguese by Clifford Landers (Coelho’s The Alchemist, etc.). Praise for Rio Noir “In the latest entry to this globetrotting series, a man goes for a tarot reading and winds up poisoned by the daughter he never knew he had. And that’s just one story in a collection that takes us down the mysterious alleys and mazy favelas of Rio.” —O, the Oprah Magazine “A good introduction to writers of the region and to the dark side of a very sunny place.” —Booklist “A solid addition to Akashic's acclaimed noir series.” —Publishers Weekly
This book intends to be an alert to the fact that the curve measuring environmental costs against the economic benefits of capitalism has irreversibly entered into a negative phase. The prospect of an environmental collapse has been evidenced by the sciences and the humanities since the 1960s. Today, it imposes its urgency. This collapse differs from past civilizations in that it is neither local nor just civilizational. It is global and occurs at the broadest level of the biosphere, accelerated by the convergence of different socio-environmental crises, such as: Earth energy imbalance, climate change and global warming Sea-level rise Decrease and degradation of forests Collapse of terrestrial and aquatic biodiversity Floods, droughts, wildfires, and extreme weather events Degradation of soils and water resources Increase in pollution caused by fossil fuels and coal Increase in waste production and industrial intoxication The book is divided in two parts. In the first part it presents a comprehensive review of scientific data to show the already visible effects of each of the different environmental crises and its consequences to human life on Earth. In the second part, Luiz Marques critically discusses what he calls the three concentric illusions that prevent us from realizing the gravity of the current socio-environmental crises: the illusion of a sustainable capitalism, the illusion that economic growth is still capable of providing more well-being and the anthropocentric illusion. Finally, Marques argues that "fitting" back into the biosphere will only be possible if we dismantle the expansive socioeconomic gear that has shaped our societies since the 16th century by moving from a Social Contract to a Natural Contract, which takes into account the whole biosphere. According to him, the future society will be post-capitalist or it will not be a complex society, and even perhaps, we must fear, no society at all. “This book is backed up with the latest and best science and has made the complexities understandable for the average reader, all in a context of hope for the future.” - William J. Ripple, PhD, Distinguished Professor of Ecology, Director of the Alliance of World Scientists, Oregon State University
WHAT WAS THE GREAT DISCOMFORT OF YOUR LIFE, WHICH, HAD IT NOT HAPPENED, YOU WOULDN'T HAVE GOTTEN TO WHERE YOU ARE? Have you ever stopped to think about how the feeling of discomfort motivates us to run after our dreams? Without the nuisance, the uneasiness, the unpleasantness, the difficulty, in short, the discomfort, we wouldn't leave our safe zone and, much less, try to improve our reality. It is necessary to be uncomfortable in order to transform and even to dream. In The Power of Discomfort you will realize how essential this feeling is for all of us to achieve the transformations we seek, leaving behind a lukewarm, dull life. With inspiring words, José Luiz Tejon takes us on a journey through our inner restlessness and teaches us how we can achieve our best through this feeling that is so present in our lives and, at the same time, so transformative. Here you will learn how to: Identify the seven types of discomfort that are real tools: "fly", "poor me" (victimization), "head against the wall", values, "online fake", apocalyptic (entropic), and divine (syntropic). Identify when the discomfort is legitimate or just an attempt to escape from the problem. Apply the 8Cs method (named after its Portuguese acronym)—Courage, Trust, Cooperation, Creation, Consciousness, Achievement, Correction, and Character—in everyday life. Face life's worries and discomforts without fear, thus avoiding alienation and hopelessness. Trace the path to a life full of joy and fulfillment.
Designed as a survey and focused on key examples and movements arranged chronologically from 1903 to 2003, this is the first comprehensive history of modern architecture in Latin America in any language. Runner-up, University Co-op Robert W. Hamilton Book Award, 2015 Modern Architecture in Latin America: Art, Technology, and Utopia is an introductory text on the issues, polemics, and works that represent the complex processes of political, economic, and cultural modernization in the twentieth century. The number and types of projects varied greatly from country to country, but, as a whole, the region produced a significant body of architecture that has never before been presented in a single volume in any language. Modern Architecture in Latin America is the first comprehensive history of this important production. Designed as a survey and focused on key examples/paradigms arranged chronologically from 1903 to 2003, this volume covers a myriad of countries; historical, social, and political conditions; and projects/developments that range from small houses to urban plans to architectural movements. The book is structured so that it can be read in a variety of ways—as a historically developed narrative of modern architecture in Latin America, as a country-specific chronology, or as a treatment of traditions centered on issues of art, technology, or utopia. This structure allows readers to see the development of multiple and parallel branches/historical strands of architecture and, at times, their interconnections across countries. The authors provide a critical evaluation of the movements presented in relationship to their overall goals and architectural transformations.
In 1974, the Brazilian sports official João Havelange was elected FIFA’s president in a two-round election, defeating the incumbent Stanley Rous. The story told by Havelange himself describes a private odyssey in which the protagonist crisscrosses two thirds of the world canvassing for votes and challenging the institutional status quo. For many scholars, Havelange’s triumph changed FIFA’s (International Federation of Football Association) identity, gradually turning it into a global and immensely wealthy institution. Conversely, the election can be analyzed as a historical event. It can be thought of as a political window by means of which the international dynamic of a specific moment in the Cold War can be perceived. In this regard, this book seeks to understand which actors were involved in the election, how the networks were shaped, and which political agents were directly engaged in the campaign.
This book presents the SigniFYI Suite of conceptual and methodological tools, designed to uncover meanings inscribed in software, their origins, intent and consequences to identify and trace correlating patterns; from software design and development to software use and experience. Based on the study of Semiotic Engineering, the book advances the e study of Human-Centered Computing (HCC), inviting professionals, researchers, teachers and students to reflect upon how subjective and cultural values manifest themselves through software models, programs and user interfaces. The authors weave a mesh of technical, theoretical and philosophical considerations of what it means to build and use software, exploring what we (professionals and non-professionals) mean by the pieces of software we design and develop, as well as what pieces of software mean to end-users and others. Explicitly dedicated to software designers, developers and users, Software Developers as Users is a provocative view of socio-technical communication in the digital age.
This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) – a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided into three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquirão), the transnational urban popular universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas). To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this research reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government. The sound universe of the comedies of Martins Penna are compared to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors, singers and dancers, who performed in his comedies. The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century through the present.
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