The last quarter of the nineteenth century and the first decades of the twentieth century were essential to the contemporary history of the Amazon; the region became integrated into the mechanisms of industrial and finance capitalism and became the key component of international economics and culture through the chain of latex production. The dynamics of the reproduction of capital formed the axis for the globalization of culture, in the forms and in the representations of the so-called belle époque, forms the widely proclaimed civilized and Appropriate for the social subjects of progress. Theater, literature and musical associations constituted the marks of urban sociability, reproducing on a scale place in the Belém of que era, the settings typical of the belle époque. Even considering certain particularities, these sites can be the Regarded the mimetic configuration of a globalized capitalist bourgeois culture of the fin de siècle.

What in the lexicon of Cultural History was set to belle époque it indicates a complex process of cultural, social and mental relationships developed within a recognized corpus historically as the bourgeois culture and its claim within the hegemonic frames of industrial capitalism in the late of the 19th century. On behalf of the identity of a time whose social subjects emerged from the new dominant economic and social conditions in the world's capital, the belle époque implies recognizing languages, tastes, attitudes, aesthetics, sociability that produced in the hegemonic centers of industrial capitalism economy, reproduced On a planetary scale, also in the condition of the ways of being and of acting in times that implied the triumph of Progress and the affirmation of Civilization. The mythology of the belle époque was expressive and rooted enough to build their representations and globalizes them. In this sense, Paris emerges at the end of the nineteenth century as a great and powerful metaphor, space-synthesis of an exquisite, elegant, cultured and civilized way of life. The mechanisms and behaviors of bourgeois sociability produced thereby images of a golden age of social life, whose ways and organic circulation veins were the boulevards of Paris. The bhe époque, ultimately edulcorou the dramatic dialectic of revelation and concealment, appearance and essence, in the limit as everything was solid evaporates in the air.

Values, codes and rituals of the culture of the belle époque in theater condition of civilization, have spread to a greater or less extent by contemporary societies. Paris, Lisbon, Buenos Aires, St. Petersburg, Vienna, Belem and Manaus, cities of distinct social and physical topographies, were integrated into the world circuit of bourgeois culture, insofar as they were linked to the world market chain. Bourgeois culture bépoque he transitioned the same circulation channels of goods, capital and production of goods, which meant clearly defining the meaning of the globalization of the capitalist economy and the symbolic capital of bourgeois culture. The belle époque, understood as a manifestation of the Golden Age of the urban culture of contemporary bourgeoisie, whose traditional paintings, as seen, refer to the Paris of the late nineteenth and early twentieth century’s, it has always been a domain visited by the Brazilian social narrative. Even the urban transformations of cities such as Belem and Rio de Janeiro in the same period, were treated as specular dimensions of the belle époque matrix in social and mental latitudes of the Brazilian tropics. The reading of the chronicle of an Olavo Bilac and a João do Rio, for the Federal Capital and that of a Humberto de Campos and an Eustáquio de Azevedo, to Belém do Pará, reveals, this reading, that its authors believed that the Essential scenes of the culture and urban and bourgeois sociability of Paris had been transposed into the Brazilian cities in question. The Rio de Janeiro, Belem or Manaus, but Brazil as a whole, civilise-parodying journalist Figueiredo Pimentel, one of the heralds of the belle époque and culture of the boulevards of Rio de Janeiro, whose column "The Binoculars" published by News Gazeta newspaper, had become at the helm of bourgeois ship in the Federal Capital in the early twentieth century. This supposedly historical aphorism crossed decades of Brazilian social thought, just as it fueled the country's social imagination about a progress and a civilization that established itself in the country as universal.

The natural inclination of our men of letters and of our artists would have succeeded in producing the social and mental ambience of cities such as Paris, Vienna, Lisbon, St Petersburg and the conquests of progress and civilization on such diverse cultural soil. Since the final years of the Empire, the Europeanization and laundering of Brazil, homologies of progress and civilization, assumed, by virtue of a discursive identity, the visible and detached face of the Brazilian Nation. Therefore understandable that for the mentality of urban elites of Brazil, the belle époque crowned the historical commitment to build the real country whose founding structures was in the imaginary country. From Nature we went to Culture, we got to History. More recently, in the fields of Social History, Cultural History and Literature, the belle époque Brazil, its symbolic languages and their social representations has been the subject of a new reading. Both in terms of Rio de Janeiro as Belém and Manaus, reference scenarios civilizar- if Brazil in the late nineteenth century to the twentieth, the belle époque pa ssa to other fields of social thought. This passage, of course, takes place in several domains, inasmuch as the visited universe