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2 Dec 2014: This term saw the inaugural meeting of the Cambridge New Habsburg Studies Network. ... The papers highlighted new departures in research into the social, economic and cultural history of the Habsburg lands.

19 Dec 2014: humanitarian (New York/Oxford: Berg, 1992) • Werner Busch, ‘Caspar David Friedrich’ in Deutsche Erinnerungsorte, edited. ... 1 and 2. • Michael Perraudin, Literature, the Volk and Revolution in mid-nineteenth-century Germany (New York/Oxford:

7 Jan 2015: Brazilian Modernism: 1922- 1924. Emphasis on breaking away from past and creating a new and modern culture for Brazil. ... Mas quer representar a época de 1920 em diante. 1924: new questions arise – progress and breaking away from the past not so easy.

7 Jan 2015: New York: Columbia University Press, 1995: 64-68. Johnson, Randal. “Brazilian Cinema Novo.” Bulletin of Latin American Research, Vol. ... New York: Columbia University Press, 1995: 69-71. Sartre, Jean-Paul. “Colonialism is a System” in

7 Jan 2015: 1808 Brazil is centre of Portuguese Empire. International Trade opened up, new industries and culture. ... New National Consciousness in literature. Literature previously dominated by neo-classcicism or Arcadism.

7 Jan 2015: New York: Da Capo, 1976. Aub, Max. Conversaciones con Bunuel. Madrid: Aguilar, 1985. ... Lewis, Helena. Dada Turns Red: The Politics of Surrealism. New York: Paragon House, 1988.

7 Jan 2015: The new government was thus entrusted with a huge burden of expectations” (Balfour 243).

7 Jan 2015: Brazilian modernism: 1922- 1945. The movement is “heterogenous movement, ecompassing a multiplicity of aesthetic, cultural and political proposals” (…) Nevertheless, modernists were “all united with the common concern of creating a new

31 Jan 2015: Further reading: Austin, T. and W. de Jong, Eds. (2008). Rethinking Documentary: New Perspectives, New Practices. ... A New History of Documentary Film. New York, Continuum.

31 Jan 2015: A globe-spanning, ironic portrait of kitsch and the new rich. Not the subtlest exploration of the priapic urge.”. ... of national films within national contexts, and the dismissive notions of new trends in co-production as signifying nothing more than