The research focuses on the transfer of European urban ideas into Caracas, from Antonio Guzman Blanco's urban reforms in the 1870s to the proposal of the 1939 Plan Monumental de Caracas, devised under the guidance of the French urbanist Maurice Rotival. Considering that the emergence of urbanism cannot be reduced to its mere technical contents - especially in the backward context of the Venezuela of that period - the research traces not only the transfer of urbanistic ideas, but also the importation which took place in the domains related to the Caraquenians' urban culture and urbanity. At the same time, that urban transfer is not reduced to a deterministic effect of economic dependence, but is rather regarded as a component of the cultural relationship maintained by the Venezuelan elite with the most advanced countries of North Atlantic capitalism. By tracing the transfer of urban ideas from Europe into Caracas - which remains the core issue of the research -a parallel question is explored: the reconstruction of the primary stages which articulated the urban debate in Venezuela and underpinned modern urbanism as a discipline, a process which apparently occurred against that European background. This reconstruction involves three episodes - the urban art of the Guzmanian city, the hygiene and progress of the belle Opoque and the monumental urbanism of the democratic capital - which are presented as components of a European-oriented cycle in the history of Caracas. In order to trace that transfer and reconstruct those episodes, the research combines four types of urban discourse: the legal, political and administrative texts, the urban literature, the travel chronicles and general descriptions, and technical literature about urbanism. The interlacement of such a catalogue of specialized and non-specialized sources claims to be an innovation of the research.

Publiés en volumes chez l’ancienne librairie Furne entre 1894 et 1917, les « Voyages excentriques » de Paul d’Ivoi constituent une collection prisée par la jeunesse à la Belle Epoque. Ces romans d’aventures inscrits dans la lignée de Jules Verne sont très représentatifs de leur temps, avec des intrigues enracinées dans un contexte politique proche du moment de leur écriture. Soucieux de contribuer à la formation patriotique et morale de leurs lecteurs, ils s’appliquent à soutenir l’œuvre coloniale de la France, à promouvoir les valeurs de la République française et à célébrer le rayonnement du pays à travers le monde. L’action, qui présente souvent un enjeu diplomatique international, suscite le voyage en terre étrangère et la rencontre avec d’autres nationalités dont la vision est le reflet des relations amicales ou conflictuelles que la France entretient avec elles. Mais de la réalité, les « Voyages excentriques » basculent dans la fiction en usant des diverses ressources que leur offre le genre du roman d’aventures alors à son apogée. L’exotisme et la fantaisie scientifique sont les deux thèmes les plus représentés, parfois agrémentés d’une touche policière ou d’espionnage. Dans sa pratique du roman d’aventures, Paul d’Ivoi cultive l’art de la variation par rapport à ses prédécesseurs, affirmant sa propre manière dans l’inventivité de ses gadgets scientifiques merveilleux ou la place prépondérante qu’il donne aux femmes. Il connut un grand succès au début du XXème siècle comme cadeau d’étrennes, livre de prix, fascicule populaire, feuilleton de quotidien à un sou, adapté au théâtre et même au cinéma. Son originalité réside surtout dans la notion d’excentrique qui fédère sa collection de romans Belle Epoque. / Published in volumes between 1894 and 1917 by the former bookshop Furne, Paul d’Ivoi’s "Voyages Excentriques" made up a collection which was very much valued by the youth of the Edwardian Era.These adventure novels, in the tradition of Jules Verne, were highly representative of their time with plots deeply rooted in the political ideas pervading then. They were anxious to contribute to the patriotic and moral moulding of their readers and applied to support the colonial work of France while promoting the values of the French Republic and celebrating its influence all over the world. The action, which often deals with international diplomatic stakes, sends the characters abroad to meet other nationalities whose visions reflect their relationships with France, whether friendly or of conflict.However the "Voyages Excentriques" swing from reality into fiction using the various means that adventure novels, then at their peak, offered them. Exotism and scientific extravagance are the main themes, often accompanied with detective stories or spy fiction as secondary sorts. When writing his adventure novels, Paul d’Ivoi carefully paid attention to differentiating himself from his predecessors, asserting his own manner by inventing wonderful scientific gadgets or giving a preponderant role to women. His books were a great success at the turn of the 20th century as New Year’s gifts, school prizes, popular manuals or cheap serials which were adapted on stage or even in movies.He is most original in his dealing with eccentricity which is to be found all through his collection of Belle Epoque novels.

[pt] O presente trabalho visa investigar o lugar social dos candomblés na belle époque carioca, a partir das crônicas de Paulo Barreto (João do Rio) acerca dos candomblés no Rio de Janeiro publicadas na Gazeta de Notícias e na Kosmos, propondo a construção de uma percepção do candomblé para a sociedade carioca na virada do século XIX para o XX e a realização de um esboço de mapa da religiosidade carioca na belle époque. / [en] The present work intends to investigate the social place of the candomblés in belle époque of Rio de Janeiro, from the chronicles of Paulo Barreto (João do Rio) about the candomblés in the Rio de Janeiro published in the Gazeta de Notícias and in the Kosmos, proposing the construction of a perception of the candomblé for the society of Rio de Janeiro in the turning of the century XIX for the XX and the realization of a sketch of map of the religiosity of Rio de Janeiro in belle époque.

[pt] A Primeira Igreja Batista do Rio de Janeiro foi fundada em agosto de 1884 através dos esforços missionários do pastor William Buck Bagby. Implantada na Rua do Santana (região central da antiga capital federal). Em 1928 essa comunidade religiosa foi transferida para Rua Frei Caneca, ao pé do atual Morro do São Carlos. Tal mudança trouxe impactos diretos para a sua composição. A partir da segunda metade da década de 1920 foi possível constatar, com maior intensidade, a entrada de imigrantes pobres, costureiras, operários, negros e domésticas para as fileiras da igreja. Certamente, esse novo espaço possibilitou um maior relacionamento da comunidade com as classes subalternas. Contudo, essa transferência foi sucedida por outro fenômeno: um aumento significativo da aplicação de processos disciplinares. Partindo desse ponto, nossa dissertação tem como objetivo investigar as causas e os sentidos desses mecanismos institucionais de controle. Entendemos que essas práticas sinalizavam o que os batistas enxergavam como padrão de conduta e o que era negado, reprimido e rechaçado pelo grupo. Por meio dessas dinâmicas, é possível vislumbrar processos de construção e desconstrução de identidades batistas no Rio de Janeiro. Esse foi o objetivo central que o presente trabalho visou alcançar. / [en] The First Baptist Church of Rio de Janeiro was founded in August 1884 through the missionary efforts of Pastor William Buck Bagby. Set up on Rua do Santana (central region of the former federal capital), in 1928 this religious community was transferred to Rua Frei Caneca, near the current Morro do São Carlos. This change brought direct impacts to its composition. From the second half of the 1920s onwards, it was possible to see, with greater intensity, the entry of poor immigrants, seamstresses, workers, blacks and domestic workers into the ranks of the church. Certainly, this new space enabled a greater relationship between the community and the subordinate classes. However, this transfer was succeeded by another phenomenon: a significant increase in the application of disciplinary proceedings. Starting from this point, our dissertation aims to investigate the causes and meanings of these institutional control mechanisms. We understand that these practices signaled what the Baptists saw as a standard of conduct and what was denied, repressed and rejected by the group. Thus, we see that, through these dynamics, it is possible to investigate the elaborations of Baptist identities in Rio de Janeiro. This is the central objective that the present work aims to achieve.

A Paris, en 1895, deux architectes, Raymond Barbaud et Édouard Bauhain s’associaient. Après une activité commune qui dura jusque vers 1910, ils se séparèrent et poursuivirent chacun de leur côté une tout aussi riche activité jusqu’à la fin des années 1920. En suivant les parcours croisés de ces deux architectes, c’est un double portrait qui est dressé, des origines provinciales, en passant par la formation et les débuts professionnels, les engagements, les carrières communes et individuelles.L’activité de Raymond Barbaud et Édouard Bauhain a pris place dans un contexte géographique double voire triple, avec des œuvres parisiennes, charentaises et bordelaises, pour l’essentiel issues de commandes passées par une clientèle constituée de bourgeois parisiens, ou notables ruraux, d’industriels ou de professions libérales, et structurée par des réseaux économiques, politiques ou culturels. Majoritairement constituée d’édifices privés, la production architecturale de Barbaud et Bauhain comprend aussi bien des typologies traditionnelles que des innovations programmatiques. Ils y font la démonstration de leur maîtrise des modèles historiques autant que de leur connaissance de la production contemporaine.L’œuvre de Barbaud et Bauhain révèle toute la richesse de la palette entre matérialité et esthétique. N’écartant pas les aspects constructifs, entre techniques éprouvées et nouveaux systèmes, ils recherchèrent en permanence l’expression esthétique propre à satisfaire le caractère de chaque programme. La décoration intérieure est traitée selon l’éclectisme stylistique domestique propre à la période, tout en incluant les dispositifs du confort moderne. Enfin, leur collaboration avec les sculpteurs se révèle exemplaire tant dans l’ornementation que dans la statuaire. / In Paris, in 1895, two architects, Raymond Barbaud and Edouard Bauhain became partnered. After a joint activity until around 1910, they separated and each one pursued a rich activity until the late 1920s. Through the crossed paths of these two architects, a double portrait is taking shape, from their provincial origins, to their common and individual careers, passing by their training, their professional debut and their commitments. The activity of Raymond Barbaud and Edouard Bauhain took place in a double or even a triple geographic context, with works in Paris, in the Charente county and in Bordeaux, mostly for a clientele of Parisian bourgeois, rural notables, industrialists or independent workers, a clientele structured by economic, political or cultural networks. Mostly constituted of private buildings, the architectural production of Barbaud and Bauhain includes both traditional typologies and programmatic innovations. The architects demonstrate their mastery of historical models as well as their knowledge of contemporary production. The work of Barbaud and Bauhain reveals a rich architectural palette between materiality and aesthetics. Not neglecting the constructive aspects, between tried and tested techniques and new systems, they constantly sought the aesthetic expression able to satisfy the character of each program. The interior decoration is treated according to the domestic stylistic eclecticism typical of the period, while including the features of modern comfort. Finally, their collaboration with the sculptors is exemplary in the field of ornamentation and of statuary.

[pt] Na primeira década do século XX, o Rio de Janeiro viveu uma fase de eufórica transformação. A então capital da República ganhou avenidas e edifícios suntuosos no afã de se tornar uma cidade cartão-postal. Nesse contexto, fazia-se necessário também regenerar a metrópole de tradições que denotavam a presença incômoda de uma vasta parcela de sua população. Tal conflito se estendia sobre o carnaval, quando folguedos considerados bárbaros destoavam do padrão estético dos préstitos das grandes sociedades, cuja inspiração eram as mascaradas do carnaval europeu. Nesta dissertação, analisamos as representações dos grupos carnavalescos populares da Belle Époque carioca através de uma pesquisa em fonte primária nos principais diários da cidade no período que compreende os primeiros anos do século XX. Por meio dessas representações, é possível estabelecer como uma dimensão de ambigüidade emerge das mediações da cultura popular engendradas pela imprensa, bem como os discursos que legitimam as manifestações carnavalescas de cordões, ranchos e outros grupos. / [en] In the first decade of the 20th Century, Rio de Janeiro lived through a phase of euphoric transformation. The then capital of the Republic gained avenues and magnificent buildings in the desire to become a postcard city. In this context, it was also necessary to regenerate the metropolis from the traditions that disclosed the inconvenient presence of a vast part of its population. Such conflict was extended to the carnival, as the gaieties considered barbaric conflicted with the esthetic patterns of the multitudes of the grandes sociedades, groups inspired by the masquerades of the European Carnival. In this dissertation, the representations of the popular groups of the carnival of the Carioca Belle Époque will be analyzed through the research on the primary source of the city´s main daily newspapers within the first years of the 20th Century. Via these representations, it is possible to establish how a dimension of ambiguity emerges from the mediation of the popular culture produced by the press, as well as the discourses that legitimates the manifestation of the cordões, ranchos and other groups in the Carnival.

[pt] O presente estudo discute o papel das revistas ilustradas no processo de construção da aspiração ao ethos urbano moderno, com o recorte de compreender como essas mídias impressas expressavam e como conformaram uma nova sociedade carioca, nos primeiros anos do século XX. Através da análise de anúncios e crônicas, suportes documentais tradicionalmente estudados da época, busca-se alcançar entendimento sobre como a sociedade assimilou a modernização da Capital Federal, que efeitos produziram as reformas de calçadas e avenidas, novos parques e jardins, além da interação com carros, bondes elétricos, máquinas pesadas, e os modernismos que iam além das de ordem urbana, como os dos costumes dos habitantes do Rio de Janeiro e a própria imagem a ser construída do País. Para o estudo, foram analisadas todas as edições dos seis anos de publicação da revista Kósmos (de 1904 a 1909), apontando acontecimentos da época, por vezes lançando mão da comparação intertextual desse periódico com a narrativa de outros impressos, como a Revista da Semana e a FonFon. A hipótese é que, como janelas para o entendimento da cultura moderna, os flagrantes cotidianos das crônicas e a publicidade trouxeram mais que revelações de como se deu a reconfiguração do espaço público, as novas formas de ver e ser na relação com a modernidade. Com simbologias próprias, auxiliaram na aspiração e construção de um novo valor moral, seu caráter e um novo estilo de vida. / [en] The present study discusses the role of illustrated magazines in the process of building the aspiration to the urban ethos, with the aim of understanding how these printed media expressed and how they shaped a new carioca society in the early years of the 20th century. Through the analysis of advertisements and chronicles, documentary supports traditionally studied at the time, we seek to understand how society assimilated the modernization of the Federal Capital, what effects produced the reforms of sidewalks and avenues, new parks and gardens, in addition to the interaction with cars, electric trams, heavy machinery, and modernisms that went beyond those of an urban nature, such as the customs of the inhabitants of Rio de Janeiro and the very image to be built of the country. For the study, all editions of the six years of publication of the magazine Kósmos (from 1904 to 1909) were analyzed, pointing out events of the time, sometimes making use of the intertextual comparison of this periodical with the narrative of other publications, such as Revista da Semana. and FonFon. The hypothesis is that, as windows for the understanding of modern culture, the daily flagrants of the chronicles and advertising brought more than revelations of how the reconfiguration of public space took place, the new ways of seeing and being in the relationship with modernity. With their own symbologies, they helped in the aspiration and construction of a new moral value, their character and a new style of life.

No description available.

The most prolific woman writer of belle époque Brazil, Júlia Lopes de Almeida is remembered chiefly for her proto-feminist novels like A Falência (1901). This essay extends critical analysis to the heretofore overlooked Livro das Noivas (1896), a domestic manual once reprimanded by Jeffrey Needell as counterproductive to the feminist cause. With theoretical references to Genette, Agamben, Butler, Woolf, Ludmer, and others, it contextualizes Noivas within late 19th-century discourse on women’s education and the tradition of conduct literature, ultimately determining that Almeida subverts the conventions of the latter in defense of the former. Like João Luso, who declared Noivas a “curso” for soon-to-be-married women, this essay reads the book as a remedial addendum to the superficial education that left women unprepared to confront what Almeida and her liberal contemporaries deemed their responsibility to ensure the nation’s future by supplying it educated and healthy sons. In a deep analysis of the author’s extended dedication to her husband, Filinto, this essay moreover redresses Needell’s division of Noivas from Almeida’s novels. Rather than an aberration, the manual is a companion piece to the author’s fictional corpus. As a performative dissimulation of moral femininity, it compensates for Almeida’s unorthodox and, for the time, questionably “feminine” career. / text

In the years after the Liberal Reforms of the 1870s, the capitalization of coffee production and buttressing of coercive labour regimes in rural Guatemala brought huge amounts of surplus capital to Guatemala City. Individual families—either invested in land or export houses—and the state used this newfound wealth to transform and beautify the capital, effectively inaugurating the modern era in the last decades of the nineteenth century. This dissertation considers the urban experience of modernity in Guatemala City since the 1870s. It argues that until the 1920s and 1930s, modernity in the city was primarily influenced by aesthetic modernism in the form of shopping arcades and department stores with their commodities, sites of bourgeois pleasure and pomp such as the hippodrome and Temple to Minerva, society dances, expositions, and fairs. After this point, the social fallout of economic modernization increasingly defined the experience of urban modernity in Guatemala City. Capitalist development altered the social relations of production in the countryside, precipitating massive urbanization that characterized urban life in the second half of the twentieth century. My analysis helps to account for shifting perceptions of Guatemala City; regarded during the fin-de-siècle as the “Paris of Central America”—owing to its wide boulevards, dawning consumer culture, and cosmopolitan nature—the capital today is considered one of the most dangerous cities in the Americas. I argue that, since the Liberal Reforms, urban Guatemalans learned to see, act, and think as modern subjects. The idea of the “optics of modernity” is introduced to understand epistemological shifts in perception associated with technological, scientific, religious, social, economic, and cultural changes. The optics of modernity denote both the markers of modernity (such as trains, department stores, and new social types like dandies) and new subject positions that altered the experience of the modern world. With these optics of modernity, I argue that urban Guatemalans learned to acclimatize themselves to living in a modern city. The culture of modernity during the Guatemalan Belle Époque (roughly from 1892 until 1917) is of particular interest. This dissertation proposes that the economic expansion of the period was frequently punctuated by recessions and depressions as the prices of export agricultural commodities dropped and rebounded on global markets. These economic crises constrained the bourgeoisie’s visions of liberal utopia. A unique cultural phenomenon known as the cultura de esperar (the culture of expecting, hoping, and waiting) is introduced in this work to describe the epistemological predicaments that arose when the hopes and expectations of modernity were stifled by economic gluts. The analysis explores a wide variety of topics from nineteenth-century séance culture, bull fighting in cinema, the modernist avant-garde, and the dawning of consumer culture to the contrast between verticality in urban architecture and the expansion of urban slums.