A Águia foi um órgão da \"Renascença Portuguesa\" e sua segunda série esteve, pelo menos em seus primeiros anos, orientada pelo Saudosismo - doutrina capitaneada pelo poeta Teixeira de Pascoaes. A partir dessa revista surgiram inúmeros outros periódicos, dentre os quais destacamos a Seara Nova e Terra de Sol. O objetivo dessa pesquisa foi, tendo a 2a série de A Águia como matriz, pensar e comparar essas três publicações. Ao verificar as convergências e divergências entre elas, pudemos compreender várias questões referentes às relações entre Portugal-Brasil nas primeiras décadas do século 20: os conceitos de \"nação\" incorporados aos discursos desses objetos de análise; a idéia de \"engajamento\" entre os intelectuais envolvidos nas revistas e as possíveis relações entre o modernismo brasileiro e o modernismo português. / A Águia was the mouthpiece of the \"Renascença Portuguesa\" and this journal´s second series was, at least in its first years, heavily influenced by Saudosismo, a tendency whose leader was Teixeira de Pascoaes. A Águia was the starting point for several other important periodicals, among them Seara Nova and Terra de Sol. This research focuses on the second series of A Águia and compares this important journal with Seara Nova and Terra de Sol. Identifying the similarities and differences in these three periodicals, we were able to probe into several issues concerning the relationship between Brazil and Portugal in the first decades of the 20th century: the concepts of nation imbedded in the discourses found in these periodicals; the idea of engagement among the intellectuals involved in these projects; and the relationship between Brazilian and Portuguese modernismos.

A Águia foi um órgão da \"Renascença Portuguesa\" e sua segunda série esteve, pelo menos em seus primeiros anos, orientada pelo Saudosismo - doutrina capitaneada pelo poeta Teixeira de Pascoaes. A partir dessa revista surgiram inúmeros outros periódicos, dentre os quais destacamos a Seara Nova e Terra de Sol. O objetivo dessa pesquisa foi, tendo a 2a série de A Águia como matriz, pensar e comparar essas três publicações. Ao verificar as convergências e divergências entre elas, pudemos compreender várias questões referentes às relações entre Portugal-Brasil nas primeiras décadas do século 20: os conceitos de \"nação\" incorporados aos discursos desses objetos de análise; a idéia de \"engajamento\" entre os intelectuais envolvidos nas revistas e as possíveis relações entre o modernismo brasileiro e o modernismo português. / A Águia was the mouthpiece of the \"Renascença Portuguesa\" and this journal´s second series was, at least in its first years, heavily influenced by Saudosismo, a tendency whose leader was Teixeira de Pascoaes. A Águia was the starting point for several other important periodicals, among them Seara Nova and Terra de Sol. This research focuses on the second series of A Águia and compares this important journal with Seara Nova and Terra de Sol. Identifying the similarities and differences in these three periodicals, we were able to probe into several issues concerning the relationship between Brazil and Portugal in the first decades of the 20th century: the concepts of nation imbedded in the discourses found in these periodicals; the idea of engagement among the intellectuals involved in these projects; and the relationship between Brazilian and Portuguese modernismos.

In this comparative examination of cinematic representations of American and Brazilian wildernesses, I argue for the necessity of a transnational, postregional, and ecocritical approach to film studies. The way that the deserts of the American West are represented by Hollywood Western filmmakers reveal underlying ecological and political philosophies, and provide a productive contrast with representations of the sertão, a similarly arid biome in Brazil. Among other theoretical approaches, this study uses W. J. T. Mitchell’s idea of “landscape” as a verb to examine the formal devices by which filmmakers and audiences “landscape” these “wildernesses.” Using John Ford’s The Searchers (1956) as an example, I suggest that Hollywood Westerns inscribe the land with a colonial gaze that reflects and perpetuates a dualistic conception of nature, one that sees nature as separate and distinct from humankind. Cinema Novo, the radical anticolonial movement in Brazilian cinema, provides an aesthetic and philosophical alternative. Through an analysis of one of Cinema Novo’s foundational works by one of its founding figures—Glauber Rocha’s Deus e o diabo na terra do sol [Black God, White Devil] (1964)—I demonstrate how the theory and practice of Rocha’s anticolonial “aesthetic of hunger” has an ecological dimension, one that rejects and collapses a binary opposition between humans and nature. By looking beyond borders which too often function not only as national boundaries but to delimit fields of academic study, this project finds common ground for comparison in representations of nature, and demonstrates the political and ecological implications thereof.