ideals as well as the recent independence of the United States from Great Britain.14 14 Café com leite, or “coffee with milk,” politics refers to an alliance under the Old Republic (1889–1930) between the landed oligarchs of São Paulo (dominated by coffee plantations) and Minas Gerais (dominated by dairy interests). During the Old Republic, presidents were drawn from the oligarchies of these two states, and their interests dominated national politics.
15 15 “Pagu” was the pseudonym of Patrícia Rehder Galvão, a poet, playwright, journalist, and communist militant. She married Oswald de Andrade in 1930, after he had left Tarsila do Amaral, to whom de Andrade had previously been married.
16 16 Silviano Santiago observed that Oswald's choice of giving the talk in 1944 rather than in 1942 was a strategy of remembering the 1924 trip of the modernists to the historic city of Minas Gerais and his own Pau Brasil movement or, in other words, placing himself at the center of modernism. See Santiago, S. (2006). Sobre plataformas e testamentos. In: Oras (direis) puxar conversa!: ensaios literarios 116. Belo Horizonte: Editora da UFMG.
17 17 On the Tenente Revolts, see note 4. The Coluna Prestes (Prestes Column), linked to the Tenente Revolts, was a resistance movement active between 1925 and 1927.
18 18 Revista Clima was a Paulista journal, published between 1941 and 1944 by the Department of Philosophy at the University of São Paulo, in which Antonio Candido participated.
19 19 This series of interviews was accompanied by another with the representatives of the older generation (fundamentally the modernists of different veins), which was published with the tombstone‐like title Testament of a Generation. See Cavalheiro, E . (1944). Testamento de uma geração. Porto Alegre: Globo.
20 20 Or further, “The old ones take the wide road, while the youngsters go through the ‘narrow door’” (p. 119).
21 21 The Intentona Comunista was an attempted 1935 coup against the government of Getúlio Vargas. It was led by the Aliança Nacional Libertatora, an antifascist, popular front political organization, with the support of the Brazilian Communist Party and the Comintern.
22 22 On Brasília and Juscelino Kubitschek, see Fabiola López‐Durán, Chapter 9 in this volume.
23 23 See Alambert, F., and Lopes, P.C. (2004). Bienais de São Paulo: Da era do museu à era dos curadores. São Paulo: Boitempo.
24 24 Concretismo, a Brazilian arts movement arising in the 1950s, emphasized geometric abstraction based on rationalist principles. On Concretismo, see Juan Ledezma, Chapter 8 in this volume.
25 25 Tropicalismo (also known as Tropicália) was an arts movement that emerged in the late 1960s, critical of the Brazilian dictatorship. See Irene Small, Chapter 13 in this volume. Influenced by Antropofagia, it was perhaps most well known for its innovative music blending Brazilio‐African rhythms with rock, and for musicians such as Caetano Veloso. Tropicalismo also includes visual arts, poetry, and theater, in which artists such as Hélio Oiticica combined avant‐garde art and popular cultural forms.
26 26 Mário de Andrade published his novel, Macunaíma, considered one of the founding texts of Brazilian modernism, in 1928.
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3 José Carlos Mariátegui and the Eternal Dawn of Revolution
Martín Oyata
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José Carlos Mariátegui (1894–1930) is the great unknown in Latin American intellectual history. Widely regarded as one of the continent's finest thinkers, his ideas nonetheless prove hard to grasp, as they resist those pithy formulas that make for accessible surveys. Whereas Domingo Faustino Sarmiento
