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In June 1954, 28 national football associations from all over Europe met in Basel, Switzerland, to create a continental organization. Renamed as Union of European Football Associations (UEFA) in October 1954, in less than ten years it became a major actor in European football, a leading role which it continued to play in the decades that followed. How can the creation of this organization be explained during the Cold War, when Europeans were divided? What were the main sources of inspiration for the advocates of UEFA? From a globalized perspective, this paper addresses these two questions by focusing on the role played by South American football administrators in this process. This research is primarily based on documents from the FIFA archives, in particular the minutes of both the Executive and Emergency Committees and the Congresses, as well as mail correspondence. These documents have been cross-referenced with other archives of national associations and a careful review of L'Equipe and France Football, newspapers with international scope. [ABSTRACT FROM AUTHOR]

This paper aims to analyze Brazilian athletes' participation in the South American Olympic Games held in 1907 in Montevideo/Uruguay through the publications published by the press in the cities of Rio de Janeiro and São Paulo. The sources selected for this purpose were the following newspapers: Correio Paulistano, Jornal do Brazil, O Paiz and O Século. There is evidence of various tensions in the incipient Brazilian sporting sphere, which implied definitions of amateurism and professionalism, as well as disputes over the sporting protagonism between Rio de Janeiro and São Paulo. In conclusion, the article points out that, even in this scenario of tensions, the Brazilian press tried to produce its first sports heroes. [ABSTRACT FROM AUTHOR]

This paper examines the context of emergence of the nineties' generation in the Uruguayan theater, as well as its consolidation process in the first decade of the 21st century. Some proposals of the historical process, periodization and tracking of major trends in the local scene of the post-dictatorship period are presented and discussed. The hypothesis is that what has been called the 90's generation is strictly an effect of a critical and academic discourse (which, in describing it, builds it and notably contributes to legitimate the place of the artists who compose the Uruguayan theatrical field of that decade). A corpus of articles published between 1992 and 2012 will be examined, dividing this period into three stages that define the three sections comprising the article. [ABSTRACT FROM AUTHOR]