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Article

Marcia Guedes Vieira

The International Labour Organization estimates that there are 12.5 million children and adolescents under the age of fifteen currently working in Latin America and the Caribbean. Of these, 9.6 million (77%) perform tasks that pose a risk to their physical and psychological health. This article presents a brief comparative analysis of child labor in Brazil and Uruguay in order to discuss the challenges of confronting this phenomenon in two very different countries that have embraced divergent strategies to deal with similar problems. To do this, the article presents an overview of the incidence of child labor in Brazil and Uruguay and seeks to demonstrate how far the category of labor is from a universal definition in the academic world, which is also repeated in the debate on the definition of child labor. It is possible to identify different moments of the debate in Latin America regarding the concept of child labor. Some approaches have been more contextualized than others, but all remain controversial and are sometimes considered incomplete. It will also consider the changes in the world of labor and how they interfere in this phenomenon. Despite advances in the fight against child labor overall, Brazil is starting to stagnate in its efforts to reduce the number of child and adolescent workers, and its challenge is to find new political solutions to address this problem. Uruguay still needs to place the issue more centrally on the nation’s political and social agenda in order to guarantee consistent research on the problem that can guide its policy responses.

Article

In Montevideo in 1923, streetcar company executive Juan Cat shot at journalist and Communist parliamentarian Celestino Mibelli in the atrium of the Uruguayan Congress. Despite this premeditated assassination attempt in front of numerous witnesses, Cat was released, the judge accepting the possibility that his actions were in legitimate self-defense. The logic that led police, prosecutor, and judge to arrive at conclusions that seemed to contradict both the evidence and the law hinged upon, and in the process reveals, deeply conflicting ideas of honor, family, the public versus the private sphere, and the unwritten laws that governed journalism in 1920s Uruguay. Mibelli had published a series of scandalous newspaper stories, one involving Cat’s young daughter, and many Uruguayans identified with the aggrieved father, arguing that an attack on family honor was no different from a physical assault. The only legally and socially acceptable remedy for Cat was to challenge his slanderer to a duel, but Mibelli refused to accept challenges because he considered dueling elitist. In the end, the police report, the prosecutor’s brief, and the judge’s ruling each subtly distorted the details of the encounter to construct Cat’s attack as a quasi-duel, a frustrated attempt to “demand explanations” from Mibelli, following a ritualized script set down in the dueling codes of the era. Factually, Cat’s actions were no such thing, but by crafting the narrative of an “affair of honor” gone wrong, official lies reflected deeper cultural truths.

Article

The 1959 Cuban Revolution, the revolution’s subsequent strengthening, and the radical change that the process underwent beginning in 1961 marked a turning point in the history of Latin America. It implied the largest and most consistent regional challenge faced by the United States in an area where its influence had often been decisive. From then on, the Latin American Cold War intensified at every level. It was no longer about the “reactive” actions that took place among the conservative Latin American elite via the communism inspired by distant Moscow. In Cuba, the culture of the “revolution” was established, and the consequences were far from mere symbolism: Cubans also launched actions of “alternative diplomacy” to lend institutional support to the Latin American guerrilla movements. However, there is no documented study on Cuba’s role in Latin America. This is explicable in large part by the secrecy with which the Caribbean isle has made archival research in the country impossible. Although this secrecy is understandable in view of its nature as a heavily beleaguered revolution from abroad, this culture of secrecy contributed to expanding a production of journalistic and essay-based denunciation that habitually lacked rigor and interpretive frameworks. Since 2010, a certain spirit of openness has existed in the matter, an example of which is purported to be linked to the Cuban Ministry of Foreign Affairs, whose historical repository has slowly begun to receive researchers, principally from abroad. Drawing upon the anxiety and curiosity of the international historiographic community about the images originating from Havana, an initial approach and investigation was carried out in the aforementioned tradition, with the aim of shedding light on several of the actions deployed by the Cuban Embassy in Uruguay during the initial and intense years of the Caribbean revolution.

Article

Theater in Argentina and Uruguay, which together compose the Plata river region of Latin America, has been a predominant form of entertainment since the 19th century. Theaters abound in Montevideo, while its sister city. Buenos Aires, has its own Broadway in the famed Corrientes Street. In the age of digital culture, the theater remains a mainstay of cultural life for Argentines and Uruguayans. The success of theater and the making of a theatergoing public in the region have their roots first in the variety of entertainment offered by hemispheric travelers to the region from the 1820s through the 1880s and then, most significantly, in shows put on by itinerant circus troupes in the countryside that only later filled urban theaters. From the mid-1880s through 1900 these circus troupes performed plays known as dramas criollos that dealt with rural traditions and explored issues of migration, social stratification, and tensions of economic modernization. These Creole dramas, like the narrative and poetic tales of gaucho heroes that informed them, became wildly successful, attracting spectators in the countryside and city alike, in venues ranging from makeshift tents to the most opulent theaters. They also became the namesake of the circo criollo, which referred as much to types of performers staging the tales as to the circus event where people flocked to see the new main attraction—the dramas. In effect, the Creole drama phenomenon expanded the presence of popular entertainment across the region and consolidated a theatergoing public. It also gave way to a new strand of modern popular culture in which storylines and characters reappeared in other media, and the impact of the Creole drama experience long outlived the spectacle itself.

Article

In the first half of the 20th century, Uruguay was a relatively educated, democratic, and politically progressive South American country, and women there used old and new media for professional and political ends. Radical, Catholic, and liberal feminist women all utilized print media to promote their views and build support for their respective causes in publications aimed at both female and general audiences. Anarchist feminist María Collazo, for example, edited an important publication, La Batalla, from 1915 to approximately 1927. By the late 1920s, radio was an emerging mass medium, and women activists, journalists, and others sought to make their voices heard, literally and figuratively, on its airwaves. Starting in 1935, those airwaves included Radio Femenina, the first all-woman format radio station in the Western Hemisphere. One of the voices heard on Radio Femenina was Dra. Paulina Luisi, Uruguay’s leading feminist activist, who became a powerful voice of both the Socialist Party and the politics of the Popular Front in the late 1930s and early 1940s.

Article

Julian Gonzalez-Guyer

During the last quarter of a century, Uruguay has contributed more to UN peacekeeping operations than any other South American nation and was one of the top twenty countries in the ranking of the UN’s Department of Peacekeeping Operations (DPKO) between 2001 and 2016. This is striking when one bears in mind that Uruguay’s population is less than 3.5 million and that the size of its armed forces has been steadily reduced since 1985. With these credentials, Uruguay secured a non-permanent seat on the UN Security Council between 2016 and 2017, a position it had only previously held between 1965 and 1966. Contributing to peace operations has been a novelty in Uruguay’s foreign policy in the post-dictatorship era, though without breaking with the traditional principles of its foreign policy and strategic identity. Indeed, multilateralism and an adherence to the principles of non-intervention and negotiated conflict resolution have been consistent elements of Uruguayan foreign policy since the beginning of the 20th century. In fact, the motivations for Uruguay’s striking level of commitment to the UN peace operations are mainly linked to the evolution of civil–military relations after the dictatorship of 1973–1985.

Article

Daniel Alex Richter

Cinema began in Uruguay with the exhibition of foreign films by visiting representatives of the Lumière brothers in 1896 before the first Uruguayan film was produced and shown in 1898. From the early period of Uruguayan cinema to the end of the 20th century, Uruguayan national cinema struggled to exist in the estimation of critical observers. Considering these periods of growth and stagnation, this history of Uruguayan cinema seeks to shed light on the industry’s evolution by focusing on exhibition, production, and spectatorship. This essay explores Uruguay’s national film productions, transnational businesses in shaping local film exhibition, the growth of mass publics and critical spectatorship, and the significance of political filmmaking in understanding the evolution of Latin American cinema during the 1960s. The history of Uruguayan cinema during the 20th century also provides a lens for understanding the political, social, and cultural histories of a country that has struggled to live up to its reputation as South America’s “most democratic” nation.

Article

With the arrival of the daguerreotype in Río de la Plata, in 1840, the photography industry was immediately monopolized by portrait photographers. By 1850 there were already more than ten daguerreotype photographers in both Buenos Aires and Montevideo, the two main cities on either side of the river. The majority were traveling foreigners, who frequently moved their studios between the two banks. Local society welcomed this new technology with enthusiasm and praised its representational perfection and its powerful verisimilitude. However, the high cost of the first daguerreotypes made portraiture an item of prestige and social differentiation, reserved only for those who were well-to-do. Far from the instantaneous photography of the early 21st century, daguerreotype portraits involved lengthy exposure times. This meant that they were highly staged, according to the attitudes, expectations, and motivations (conscious or unconscious), of the photographer, the subject, and the society in which these works were created. Through expertly arranged costumes, scenery, and poses, the bourgeoisie of Río de la Plata communicated and immortalized the prejudices, behaviors, and opinions specific to their class. With the emergence of paper photography and the growth of standardized formats, such as the carte de visite, c. 1855, photography transcended class boundaries for the first time. In this period the portrait acquired a commemorative function associated with the consolidation of new genres, such as post-mortem portraits, wedding portraits, and First Communion portraits, pictures meant to immortalize important family events. During this time large photography studios appeared, with new and luxurious facilities, in which the photographic compositions would become much more sophisticated and theatrical. For the local elite the decision to have their portraits taken was an act of expressing their identity; for certain social subjects, however, being photographed, invariably through the imposition of the operator, and with no agency in the representation of their own image, photography functioned as an instrument of privilege used to construct otherness. During this period the development of disciplines such as anthropology, criminology, and psychiatry, which sought to record and classify everything that did not conform with the normalized homogeneity of the time, made photography the ideal tool to identify those “others” for whom there was no space in respectable society or who fulfilled a negative role in it.

Article

The effort of searching the effects of the War of the Triple Alliance against Paraguay on the building up of Brazilian national identity challenges the historian with a paradox: why the military victory promotes the fall of the political regime instead of strengthening it. The article tries to deal with some dimensions of this paradox underlining the distinctive characteristics of this war in the ongoing warmongering in the Platine region—the huge numbers of conscripted soldiers (“the Total War”), the hybrid political character of the alliance (Brazilian monarchy and Argentinian Republic), the opposition of most of the conservative classes, and the unveiling of slavery as a strategic weakness for the country—are some of the themes treated in order to explain how the empire lost both the battle of worldwide moral support and the battle of legitimacy inside the country. The massive recruitment coming from all parts of the country could bring the empowerment of ordinary people in the postwar decades, but the monarchical elites took careful steps to ensure that these sectors were quickly demobilized and also not to receive medals and other military honors. The postwar era was one of unfolding of an endemic crisis leading to contest of monarchical institutions. They came from military sectors, but also from regional elites, besides bitter criticism from middle-class intellectuals. Racial arguments filled an outstanding part in this period, leading to the giving prestige of “scientific” racism and the negative diagnosis for the future of a modern nation founded in a racially mixed society.

Article

In 1863 and 1864, historical and political contradictions in the River Plate region led to civil war in Uruguay, creating tensions with neighboring nations in the region. The Brazilian government intervened both politically and militarily in Uruguay to address the interests of ranchers in its province of Rio Grande do Sul, to distract the attention of the Brazilian citizens from domestic problems, and to preserve the political influence of the Empire of Brazil on Uruguay. This action by the Empire clashed with the new Paraguayan policy of political interference in the River Plate region and resulted in the declaration of war against Brazil by Paraguayan dictator Francisco Solano López. This conflict broadened into the Paraguayan War.

Article

Adrian Howkins

Since the early 19th century, a number of Latin American countries have had active interests in the Antarctic continent. These interests began to accelerate in the early 20th century, and during the 1930s and 1940s, Argentina and Chile formalized sovereignty claims to the Antarctic Peninsula region. These claims overlapped not only with each other, but also with Great Britain’s claim to the “Falkland Islands Dependencies.” The two Latin American claims tended to be framed in the language of anti-imperialism, and for a while at least the idea of a “South American Antarctica” emerged to suggest a common front against the British Empire. Rivalry between Argentina and Chile, however, remained strong, and the alliance against imperialism never developed into a lasting agreement. In 1959, Argentina and Chile joined with ten other nations—including Great Britain, the United States, and the Soviet Union—in signing the Antarctic Treaty. This Treaty suspended sovereignty claims and created a “continent dedicated to peace and science.” Following the ratification of the Treaty in 1961, Argentina and Chile lessened their hostility to the imperial strategy of using scientific research as a justification for political claims, and came to be enthusiastic members of what some outsiders labeled an “exclusive club.” During the 1980s and early 1990s, four other Latin American nations—Brazil, Uruguay, Peru, and Ecuador—became full members of the Antarctic Treaty, attracted, in part, by the prospect of sharing in a potential minerals bonanza in the southern continent. This expected economic boom never came, however, and instead the Antarctic continent became one of the most protected environments anywhere on the planet by the terms of the 1991 Madrid Environmental Protocol.

Article

While Europeans basked in the glory of their so-called century of peace between the end of the Napoleonic wars (1815) and the onset of World War I (1914), Latin Americans knew no such luxury. Conflict became a way of life for Latin Americans attempting to construct nation-states. Liberals and Conservatives dueled with one another for political power, while caudillos (military strongmen) added their unique twisted logic to the political process. Historians have spilled considerable ink detailing these internal conflicts that complicated Latin America’s struggle for effective state formation in the early national period but have paid much less attention to the external wars over disputed boundaries that involved every South American nation during the 19th century. As historian Robert Burr described it: boundary conflicts were the “congenital international disease of Spain’s former colonies.”