Afro- Brazilian Congress (1928), 59
Afro- Brazilians: Almeida on, 102;
Amado on, 162– 63, 166– 67; in
cinema, 199; contribution to lan-
guage, 84; Freyre on, 32, 63– 64;
inferiority of, 31; media’s omission
of, 19; Rego on, 98; Southern migra-
tion of, 34
Agricultural Congresses, 38
Alencar, José de, 83
Alliance for Progress, ix
Almeida, José Américo de, 13, 47;
analysis of literary oeuvre, 102– 5;
coronel character type, 94; geo-
graph i cal focus, 78; Inojosa and, 59;
modernist views, 103– 5; on regional
literature, 74; sertão in works of,
88– 89; youth, 102
Amado, Jorge, xi, 13, 138; on Afro-
Brazilians, 162– 63; on Bahia, 159– 61,
163, 166– 67; Bahia de Todos os Santos,
156– 57, 160– 61; on bourgeoisie,
165– 66; Cacau, 155; Capitães da
Areia, 150, 158; coronel in works of,
141, 146; Freyre’s infl uence on, 161;
Gabriela, Cravo e Canela, 156, 159,
163; Jubiabá, 163; Mar Morto, 158;
Marxism of, 151; naturalism of, 166;
O País do Carnaval, 155; on patriar-
chy, 141, 163– 64; São Jorge de Ilhéus,
159; Seara Vermelha, 159– 60; Tenda
dos Milagres, 157– 58, 161– 62, 163;
Tereza Batista, 163; Terras do Sem
Fim, 156, 164; youth, 154
Amaral, Amadeu, 73
Amaral, Tarsila do, 29
Andrade, Almir, 105– 6
Andrade, Mário de: Brazilian identity
and, 24– 25; criticism of regional art,
138; “decentralizing intelligence,” 29;
on Dias, 112; Northeast’s importance
for, 72; Pauliceia Desvairada, 28;
Rego’s criticism of, 55– 56; Revista
Mauriceia and, 59; O Turista Apren-
diz, 21
Andrade, Oswald de: chanchadas and,
193; on northeastern ction, 57;
Northeast’s importance for, 72– 73;
on Recife, 38; Rego’s criticism of,
55– 56, 57; on São Paulo, 29, 73; on
Stalinism, 223
Angústia (Ramos), 171
anthropogeography, 31, 61
anticapitalism, 89– 90, 154
Antônio das Mortes, 150, 209– 10
Aranha, Graça, 24
Arrail do Cabo (Saraceini and Carnero),
199
A Arte Moderna, 59
Aruanda (Noronha), 199
Aryan- ness, 30
“Asa Branca” (Gonzaga), 119
Atlântida, 192
Austro- Costa, 59
Auto da Compadecida (Suassuna), 124
autonomist movement, 43
Ayres, Lula Cardoso, 13, 47, 112– 14
backlands. See sertão
A Bagaceira (Almeida), 102
Bahia: Amado’s popularization of,
159– 61, 163, 166– 67; Braudel on, 73;
in cinema, 198; as core of national
identity, 69; in Di Cavalcanti’s work,
180; New Cinema origins in, 200;
Rodrigues on, 20
Bahia de Todos os Santos (Amado), 156– 57,
160– 61, 202
INDEX
Previous Page Next Page