P Is For Philadelphia
Susan Korman Temple University Press, 2005 Library of Congress F158.33.K67 2005 | Dewey Decimal 974.811
P Is for Philadelphia is a unique, alphabetic tour of the city and the region, illustrated by the area's public school children, who participated in a city-wide drawing contest. From A is for Athlete to Z is for Zoo, all of the city's rich history is explored. P Is for Philadelphia includes entries on William Penn's arrival and historic treaty with the Delaware Indians, the city's heritage as the cradle of American liberty, as well as its food, sports teams, neighborhoods, and festivals. This book will have the kind of impact on Philadelphia and the region that few children's books ever have. It belongs on the bedside tables of every child in the Delaware Valley and the bookshelves of every visitor.
Pablo Neruda (1904–73) is one of Latin America’s best known poets, adored by readers for the passionate love lyrics written during his early years in his native Chile, and respected by critics for the dark, hypnotic verses he composed during his later, solitary years as a diplomat based in the Far East. As Dominic Moran shows in his concise biography of Neruda, rarely have the life and works of a writer been so intimately and dramatically bound up as they are in Neruda.
In Pablo Neruda, Moran takes a detailed and often critical look at this relationship, focusing as much on what the poetry sometimes strategically hides about Neruda the poet, the lover, and the political proselytizer, as what it reveals. Moran describes a life that was marked by an increasingly militant communism, the seeds of which can be traced to Neruda’s experiences in Spain during the early months of the Spanish Civil War. Throughout the 1950s and 1960s, Neruda became a literary torchbearer for the International Left, and he spent his final years campaigning to bring socialism to his beloved Chile. He lived just long enough to see his hero Salvador Allende unseated by Augusto Pinochet’s bloody coup.
Pablo Neruda paints a fascinating picture of one of the most prodigiously gifted literary figures of the twentieth century. It will appeal to fans of Neruda’s verse who wish to learn more about the life behind it, as well as to readers interested in Latin American literature, politics, and history.
"What is a face, really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is in front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way?"
With these words, Pablo Picasso described the revolutionary methods of painting and artistic perspective with which he challenged the ways people and the world were defined. His life was a similarly complex prism of people, places, and ideologies that spanned most of the twentieth century. Acclaimed scholar Mary Ann Caws provides in Pablo Picasso a fresh and concise examination of Picasso's life and art, revisiting the themes that occupied him throughout his life and weaving these themes through his crucial close relationships.
Caws embarks on a global journey to retrace the footsteps of Picasso, giving biographical context to his work from Les Demoiselles d'Avignon through Guernica and analyzing the changes and inconsistencies in his oeuvre over the course of the twentieth century. She examines Picasso's attempts to balance various viewpoints, artistic strategies, lovers, and friends, positing the central figures of the Harlequin, the clown, and the acrobat in his art as emblematic of his actions. Gertrude Stein, Max Jacob, Apollinaire, Jean Cocteau, André Breton, Salvador Dalí, Paul Eluard, and Roland Penrose all make appearances in these pages as Caws examines their influence on Picasso. Caws also delves into Picasso's tumultuous relationships with his lovers Dora Maar, Françoise Gilot, and Jacqueline Roque to understand their effects on his art.
A compelling and original portrait, Pablo Picasso offers a lively exploration into the personal networks that both challenged and sustained Picasso.
The mobilization of militant indigenous politics is one of the most important stories in Latin American studies today. In this critical work, Kenneth J. Mijeski and Scott H. Beck examine the rise and decline of Ecuador’s leading indigenous party, Pachakutik, as it tried to transform the state into a participative democracy.
Using in-depth interviews with political activists, as well as a powerful statistical analysis of election results, the authors show that the political election game failed to advance the causes of Ecuador’s poor or the movement’s own indigenous supporters. Pachakutik and the Rise and Decline of the Ecuadorian Indigenous Movement is an extraordinarily valuable case study of Ecuador’s indigenous movement and the challenges it still faces.
Ecuador became the first country in the world to grant the Pachamama, or Mother Earth, constitutional rights in 2008. This landmark achievement represented a shift to incorporate Indigenous philosophies of Sumak Kawsay or Buen Vivir (to live well) as a framework for social and political change. The extraordinary move coincided with the rise of neoextractivism, where the self-described socialist President Rafael Correa contended that Buen Vivir could be achieved through controversial mining projects on Indigenous and campesino territories, including their watersheds.
Pachamama Politics provides a rich ethnographic account of the tensions that follow from neoextractivism in the southern Ecuadorian Andes, where campesinos mobilized to defend their community-managed watershed from a proposed gold mine. Positioned as an activist-scholar, Teresa A. Velásquez takes the reader inside the movement—alongside marches, road blockades, and river and high-altitude wetlands—to expose the rifts between social movements and the “pink tide” government. When the promise of social change turns to state criminalization of water defenders, Velásquez argues that the contradictions of neoextractivism created the political conditions for campesinos to reconsider their relationship to indigeneity.
The book takes an intersectional approach to the study of anti-mining struggles and explains how campesino communities and their allies identified with and redeployed Indigenous cosmologies to defend their water as a life-sustaining entity. Pachamama Politics shows why progressive change requires a shift away from the extractive model of national development to a plurinational defense of community water systems and Indigenous peoples and their autonomy.
A uniquely Tejano version of the old-fashioned political barbeque, the traditional South Texas pachanga allowed politicians to connect with voters in a relaxed setting where all could enjoy live music and abundant food and drink along with political speeches and dealmaking. Today's pachanga still combines politics, music, and votes—along with a powerful new element. Corporate sponsorships have transformed the pachanga into a major marketing event, replete with celebrity performers and product giveaways, which can be recorded and broadcast on TV or radio to vastly increase the reach of the political—and the commercial—messages. This book explores the growing convergence of politics, transnational marketing, and borderlands music in the South Texas pachanga. Anthropologist Margaret Dorsey has observed some one hundred pachangas and interviewed promoters, politicians, artists, and local people. She investigates how candidates and corporations market their products to Hispanic consumers, as well as how the use of traditional music for marketing is altering traditional forms such as the corrido. Her multifaceted study also shows clearly that the lines of influence run both ways-while corporate culture is transforming the traditions of the border, Tejano voters/consumers only respond to marketing appeals (whether for politicians or products) that resonate with their values and the realities of their lives. Far from being an example of how transnational marketing homogenizes culture, the pachanga demonstrates that local cultures can exert an equally strong influence on multinational corporations.
When the Zoot Suit Riots ignited in Los Angeles in 1943, they quickly became headline news across the country. At their center was a series of attacks by U.S. Marines and sailors on young Mexican American men who dressed in distinctive suits and called themselves pachucos. The media of the day portrayed these youths as miscreants and hoodlums. Even though the outspoken First Lady, Eleanor Roosevelt, quickly labeled them victims of race riots, the initial portrayal has distorted images ever since. A surprising amount of scholarship has reinforced those images, writes Laura Cummings, proceeding from what she calls “the deviance school of thought.”
This innovative study examines the pachuco phenomenon in a new way. Exploring its growth in Tucson, Arizona, the book combines ethnography, history, and sociolinguistics to contextualize the early years of the phenomenon, its diverse cultural roots, and its language development in Tucson.
Unlike other studies, it features first-person research with men and women who—despite a wide span of ages—self-identify as pachucos and pachucas. Through these interviews and her archival research, the author finds that pachuco culture has deep roots in Tucson and the Southwest. And she discovers the importance of the pachuco/caló language variety to a shared sense of pachuquismo. Further, she identifies previously neglected pachuco ties to indigenous Indian languages and cultures in Mexico and the United States.
Cummings stresses that the great majority of people conversant with the culture and language do not subscribe to the dynamics of contemporary hardcore gangs, but while zoot suits are no longer the rage today, the pachuco language and sensibilities do live on in Mexican American communities across the Southwest and throughout the United States.
George Carpenter Barker's first major research project was field work in Tucson, Arizona on the function of language in a situation of culture contact. The results of his doctoral dissertation, "Social Functions of Language in a Mexican-American Community." The data and conclusions presented in his dissertation showed his perceptiveness in cross-cultural situations.
He conducted additional field work on the social functions of language in cross-cultural situations in Tucson in 1947-48. This work centered around interviews with Mexican-American youths. Barker's quiet friendliness and understanding won the confidence of boys who were operating at the fringes, and who were his informants for this Pachuco study.
In 1920, David O. McKay embarked on a journey that forever changed the Church of Jesus Christ of Latter-day Saints. His visits to the Latter-day Saint missions, schools, and branches in the Pacific solidified the Church leadership's commitment to global outreach. As importantly, the trip inspired McKay's own initiatives when he later became Church president. McKay's account of his odyssey brings to life the story of the Church of Jesus Christ’s transformation into a global faith. Throughout his diary, McKay expressed his humanity, curiosity, and fascination with cultures and places--the Maori hongi, East Asian customs, Australian wildlife, and more. At the same time, he and his travel companion, Hugh J. Cannon, detailed the Latter-day Saint missionary life of the era, closely observing logistical challenges and cultural differences, guiding various church efforts, and listening to followers' impressions and concerns. Reid L. Neilson and Carson V. Teuscher's meticulous notes provide historical, religious, and general context for the reader.Blending travelogue with history, Pacific Apostle illuminates the thought and work of an essential figure in the twentieth-century Church of Jesus Christ.
Offering a window into a critical era in Japanese American life, Pacific Citizens collects key writings of Larry S. Tajiri, a multitalented journalist, essayist, and popular culture maven. He and his wife, Guyo, who worked by his side, became leading figures in Nisei political life as the central purveyors of news for and about Japanese Americans during World War II, both those confined in government camps and others outside.
The Tajiris made the community newspaper the Pacific Citizen a forum for liberal and progressive views on politics, civil rights, and democracy, insightfully addressing issues of assimilation, multiracialism, and U.S. foreign relations. Through his editorship of the Pacific Citizen as well as in articles and columns in outside media, Larry Tajiri became the Japanese American community's most visible spokesperson, articulating a broad vision of Nisei identity to a varied audience.
In this thoughtfully framed and annotated volume, Greg Robinson interprets and examines the contributions of the Tajiris through a selection of writings, columns, editorials, and correspondence from before, during, and after the war. Pacific Citizens contextualizes the Tajiris' output, providing a telling portrait of these two dedicated journalists and serving as a reminder of the public value of the ethnic community press.
Beginning with the first Japanese and Americans to make contact in the early 1800s, Michael Auslin traces a unique cultural relationship. He focuses on organizations devoted to cultural exchange, such as the American Friends’ Association in Tokyo and the Japan Society of New York, as well as key individuals who promoted mutual understanding.
"Starting out, my mind and spirit were open to the mystery of foreign cultures, the spareness of aridity, the tension of seismicity, the heat of fire, the exuberance of the vast, the abundance of rot and rebirth, the kindness of strangers, the indomitable rules of climate, the triumph of life, the limits of the earth.""—from the prologue.
On a crisp January morning, the first day of a new year, writer Tim Palmer and his wife set out in their custom-outfitted van on a nine-month journey through the Pacific Coast Ranges. With a route stretching from the dry mesas of the Baja Peninsula to the storm-swept Alaskan island of Kodiak, they embarked on an incomparable tour of North America's coastal mountains high above the Pacific.
In Pacific High, Palmer recounts that adventure, interweaving tales of exploration and discovery with portraits of the places they visited and the people they came to know along the way. Bringing together images of places both exotic and familiar with profiles of intriguing people and descriptions of outdoor treks on foot, skis, mountain bike, canoe, and whitewater raft, Palmer captures the brilliant wonders of nature, the tragedy of irreversible loss, and the hope of everyone who cares for this extraordinary but threatened edge of North America.
At the heart of the story is author's concern for the health of the land and all its life. Nature thrives in many parts of the Coast Ranges—pristine rivers and ancient forests that promise refuge to the king salmon and the grizzly bear—but with a human population of 36 million, nature is under attack throughout the region. Oil spills, clearcutting, smog, sprawling development and more threaten even national parks and refuges. Yet Palmer remains hopeful, introducing readers to memorable people who strive for lasting stewardship in this land they call home.
In this rich and engaging history, Tami Parr shows how regional cheesemaking found its way back to the farm. It’s a lively story that begins with the first fur traders in the Pacific Northwest and ends with modern-day small farmers in Oregon, Washington, and Idaho.
For years, farmers in the Pacific Northwest made and sold cheese to support themselves, but over time the craft of cheesemaking became a profitable industry and production was consolidated into larger companies and cooperatives. Eventually, few individual cheesemakers were left in the region. In the late sixties and early seventies, influenced by the counterculture and back-to-the-land movements, the number of small farms and cheesemakers began to grow, initiating an artisan cheese renaissance that continues today.
Along with documenting the history of cheese in the region, Parr reveals some of the Pacific Northwest’s untold cheese stories: the fresh cheese made on the Oregon Trail, the region’s thriving blue cheese and regional swiss cheese makers, and the rise of goat’s milk and goat’s milk cheese (not the modern phenomenon many assume it to be).
While the coast of the Pacific Northwest becomes populated with houses, condominiums, motels, and restaurants, its beaches and cliffs continue to be altered by ocean currents and winter storms. A companion volume to Living with the Shore of Puget Sound and the Georgia Strait, The Pacific Northwest Coast serves as a source of information about the coast of the Pacific Northwest, its geological setting, the natural responses of beaches and cliffs to ocean processes, and the ever-present problem of erosion. In this guide, Paul D. Komar, one of the nation’s leading coastal oceanographers, examines the lessons taught by ages of geological and cultural history. With explanations of the area’s geological evolution, including natural shoreline erosion and sea-cliff landsliding, Komar details human interaction with the coast: erosion caused by early settlers, the development and destruction of Bayocean Spit, the disastrous effects caused by the 1982–1983 El Niño, and the notorious failure of a construction project on the picturesqueæbut unstableæbluffs at Jump-Off Joe. Emphasizing the actual and potential harm to human projects and to the natural heritage of the coast, Komar provides the knowledge necessary for finding a safe home near the shore while preserving the beauty that draws us to it.
Shipwrecked sailors, samurai seeking a material and sometimes spiritual education, and laborers seeking to better their economic situation: these early Japanese travelers to the West occupy a little-known corner of Asian American studies. Pacific Pioneers profiles the first Japanese who resided in the United States or the Kingdom of Hawaii for a substantial period of time and the Westerners who influenced their experiences.
Although Japanese immigrants did not start arriving in substantial numbers in the West until after 1880, in the previous thirty years a handful of key encounters helped shape relations between Japan and the United States. John E. Van Sant explores the motivations and accomplishments of these resourceful, sometimes visionary individuals who made important inroads into a culture quite different from their own and paved the way for the Issei and Nisei.
Pacific Pioneers presents detailed biographical sketches of Japanese such as Joseph Heco, Niijima Jo, and the converts to the Brotherhood of the New Life and introduces the American benefactors, such as William Griffis, David Murray, and Thomas Lake Harris, who built relationships with their foreign visitors. Van Sant also examines the uneasy relations between Japanese laborers and sugar cane plantation magnates in Hawaii during this period and the shortlived Wakamatsu colony of Japanese tea and silk producers in California.
A valuable addition to the literature, Pacific Pioneers brings to life a cast of colorful, long-forgotten characters while forging a critical link between Asian and Asian American studies.
Reframes Polynesia and Melanesia through analysis of nineteenth-century travel writing
In Pacific Possessions: The Pursuit of Authenticity in Nineteenth-Century Oceanian Travel Accounts, Chris J. Thomas expands the literary canon on Polynesia and Melanesia beyond the giants, such as Herman Melville and Jack London, to include travel narratives by British and American visitors. These accounts were widely read and reviewed when they first appeared but have largely been ignored by scholars. For the first time, Thomas defines these writings as a significant literary genre.
Recovering these works allows us to reconceive of nineteenth-century Oceania as a vibrant hub of cultural interchange. Pacific Possessions recaptures the polyphony of voices that enlivened this space through the writing of these travelers, while also paying attention to their Oceanian interlocutors. Each chapter centers on a Pacific cultural marker, what Thomas refers to as each writer’s “possession”: the Tongan tattoo, the Hawaiian hula, the Fijian cannibal fork, and Robert Louis Stevenson’s cache of South Seas photographs.
Thomas analyzes how westerners formed narratives around these objects and what those objects meant within nineteenth-century Oceanian cultures. He argues that the accounts served to shape a version of Oceanian authenticity that persists today. The profiled traveler-writers had complex experiences, at times promoting exoticized exaggerations of so-called authentic Polynesian and Melanesian cultures and at other times genuinely engaging in cultural exchange. However, their views were ultimately compromised by a western lens. In Thomas’s words, “the authenticity is at once celebrated and written over.”
In the late 1800s and early 1900s, colonial powers clashed over much of Central and East Asia: Great Britain and Germany fought over New Guinea, the Bismarck Archipelago, Fiji, and Samoa; France and Great Britain competed over control of continental Southwest Asia; and the United States annexed the Philippines and Hawaii. Meanwhile, the possible disintegration of China and Japan’s growing nationalism added new dimensions to the rivalries. Surveying these and other international developments in the Pacific basin during the three decades preceding World War I, Kees van Dijk traces the emergence of superpowers during the colonial race and analyzes their conduct as they struggled for territory. Extensive in scope, Pacific Strife is a fascinating look at a volatile moment in history.
Ez Keneret and Wendell Spear are Hollywood veterans who have committed the only sin in the movie business: they've grown old. Having been cast aside, they face their obsolescence and the harsh reality that the art they appreciate (and profit from) is just a business powered by money and celebrity. While Spear is consoled and comforted by his granddaughter, Keneret centers his comeback film on Leet de Loor, a stunning but painfully wooden "actress" he discovers in Fiji.
Richard Stern Northwestern University Press, 2001 Library of Congress PS3569.T39P28 2001 | Dewey Decimal 813.54
Ez Keneret and Wendell Spear are Hollywood veterans who have committed the only sin in the movie business: they've grown old. Having been cast aside, they face their obsolescence and the harsh reality that the art they appreciate (and profit from) is just a business powered by money and celebrity. While Spear is consoled and comforted by his granddaughter, Keneret centers his comeback film on Leet de Loor, a stunning but painfully wooden "actress" he discovers in Fiji.
Pacifica Radio 2E
Matthew Lasar Temple University Press, 2000 Library of Congress HE8697.75.U6L37 2000 | Dewey Decimal 384.5406573
In the public radio landscape, the Pacifica stations stand out as inn0ovators of diverse and controversial broadcasting. Pacifica's fifty years of struggle against social and political conformity began with a group of young men and women who hoped to change the world with a credo of non-violence. Pacifica Radio traces the cultural and political currents that shaped the first listener-supported radio station, KPFA FM in Berkeley, and accompanied Pacifica's gradual expansion into a 5 station network.
In this expanded paperback edition, Lasar provides a postscript ("A Crisis of Containment") that examines the external pressures and organizational problems within the Pacifica Foundation that led, in early 1999, to the police shutdown of network station KPFA. Lasar, an admittedly pro-KPFA partisan in the conflict, gives a first-person account, calling it "the worst crisis in the history of community radio."
Yet Pacifica Radio is about more than just the network's recent troubles. It is the story of visionary Lewis Hill and the small band of pacifists who in 1946, set out to build institutions that would promote dialogue between individuals and nations. KPFA took to the air in 1949 with stunningly unconventional programs that challenged the dreary cultural consensus of the Cold War. No one in the Bay Area, or anywhere else, had heard anything like it on the airwaves.
The first edition of Pacifica Radio, which made the San Francisco Chronicle's non-fiction bestseller list, was praised as "fascinating reading" by In These Times, "Lasar has an eye for paradox, irony and contradiction," wrote the Santa Rose Press Democrat, "but he is first and foremost an able and astute historian."
The United States Supreme Court has numbered nine justices for the past 150 years. But that number is not fixed. With the Democrats controlling the House and Senate during the Biden presidency, they could add justices to the Supreme Court. But would court packing destroy the Court as an apolitical judicial institution? This is the crucial question Stephen Feldman addresses in his provocative book, Pack the Court! He uses a historical, analytical, and political argument to justify court-packing in general and Democratic court-packing more specifically.
Republicans and Democrats alike profess to worry that court-packing will destroy the legitimacy of the Supreme Court as a judicial institution by injecting politics into a purely legal adjudicative process. But as Feldman’s insightful book shows, law and politics are forever connected in judicial interpretation and decision making. Pack the Court! insists that court packing is not the threat to the Supreme Court’s institutional legitimacy that many fear. Given this, Feldman argues that Democrats should pack the Court while they have the opportunity. Doing so might even strengthen the American people’s faith in the Court.
In this important new work, Nicholas Townsend explores what men say about being fathers, and about what fatherhood means to them. He shows how men negotiate the prevailing cultural values about fatherhood, marriage, employment, and home ownership that he conceptualizes as a "package deal." Townsend identifies the conflicts and contradictions within the gendered expectations of men and fathers, and analyzes the social and economic contexts that make emotionally involved fathering an elusive ideal.Drawing on the lives and life stories of a group of men in their late forties who graduated from high school together in the early 1970s, The Package Deal demystifies culture's image of fatherhood in the United States. These men are depicted as neither villains nor victims, but as making their best efforts to achieve successful adult masculinity. This book shows what fathers really think about fatherhood, the division of labor between fathers and mothers, the gendered difference in expectations, and the privileging of the relationship between fathers and sons.These revealing accounts of how fatherhood fits into the rest of men's lives help us better understand what men can and cannot do as fathers. And they clearly illustrate that women are not alone in trying to "have it all" as they strive to combine work and family.
From the candy bar to the cigarette, records to roller coasters, a technological revolution during the last quarter of the nineteenth century precipitated a colossal shift in human consumption and sensual experience. Food, drink, and many other consumer goods came to be mass-produced, bottled, canned, condensed, and distilled, unleashing new and intensified surges of pleasure, delight, thrill—and addiction.
In Packaged Pleasures, Gary S. Cross and Robert N. Proctor delve into an uncharted chapter of American history, shedding new light on the origins of modern consumer culture and how technologies have transformed human sensory experience. In the space of only a few decades, junk foods, cigarettes, movies, recorded sound, and thrill rides brought about a revolution in what it means to taste, smell, see, hear, and touch. New techniques of boxing, labeling, and tubing gave consumers virtually unlimited access to pleasures they could simply unwrap and enjoy. Manufacturers generated a seemingly endless stream of sugar-filled, high-fat foods that were delicious but detrimental to health. Mechanically rolled cigarettes entered the market and quickly addicted millions. And many other packaged pleasures dulled or displaced natural and social delights. Yet many of these same new technologies also offered convenient and effective medicines, unprecedented opportunities to enjoy music and the visual arts, and more hygienic, varied, and nutritious food and drink. For better or for worse, sensation became mechanized, commercialized, and, to a large extent, democratized by being made cheap and accessible. Cross and Proctor have delivered an ingeniously constructed history of consumerism and consumer technology that will make us all rethink some of our favorite things.
Charles Hudson University of Alabama Press, 2009 Library of Congress PS3608.U343P33 2009 | Dewey Decimal 813.6
In April 1735, twenty-year-old William MacGregor, possessing little more than a bottle of Scotch whiskey and a set of Shakespeare’s plays, arrives in Charles Town, South Carolina, to make his fortune in the New World. The Scottish Highlands, while dear to his heart, were in steep economic decline and hopelessly entangled in dangerous political intrigue. With an uncle in Carolina, the long ocean voyage seemed his best chance for a new start. He soon discovers that the Jacobite politics of Scotland extend to Carolina, and when his mouth gets him in trouble with the Charles Town locals, dimming his employment opportunities, he seizes the one option still open for him and takes a job as a frontier packhorseman.
Soon young MacGregor is on the Cherokee trail to Indian country, where he settles in as a novice in the deerskin trade. Along the way William learns not only the arts of managing a pack train and trading with the Indians, but of reading the land and negotiating cultural differences with the Cherokee—whose clan system is much different from the Scottish clans of his homeland. William also learns that the Scottish enlightenment he so admires has not made much headway in the Carolina backcountry, where the real challenges are to survive, day to day, during the tense times after the Yamasee War and to remember that while in Indian country . . . it is their country.
A scholar of the native Southeast, Charles Hudson has turned his hand to this work of historical fiction, bringing to life the packhorsemen, Indian traders, and southeastern Indians of the early 18th-century Carolina. With a comfortable and engaging style, Hudson peoples the Carolina frontier with believable characters, all caught up in a life and time that is historically well-documented but little-known to modern popular readers.
Over the past thirty years, late Quaternary environments in the arid interior of western North America have been revealed by a unique source of fossils: well-preserved fragments of plants and animals accumulated locally by packrats and quite often encased, amberlike, in large masses of crystallized urine. These packrat middens are ubiquitous in caves and rock crevices throughout the arid West, where they can lie preserved for tens of thousands of years. More than a thousand of these deposits have been dated and analyzed, and middens have supplanted pollen records as a touchstone for studying vegetation dynamics and climatic change in radiocarbon time (the last 40,000 years). Now, similar deposits made by other mammals like hyraxes are being reported from other parts of the world.
This book brings together the findings and views of many of the researchers investigating fossil middens in the United States, Mexico, Africa, the Middle East, and Australia. The contributions serve to open a forum for methodological concerns, update the fossil record of various geographic regions, introduce new applications, and display the vast potential for fossil midden analysis in arid regions worldwide. The findings presented here will serve to foster regional research and to promote general studies devoted to global climate change. Included in the text are more than two hundred charts, photographs, and maps.
Growing up on a secluded smuggling route along the border of Northern Ireland and the Republic, Packy Jim McGrath regularly heard the news, songs, and stories of men and women who stopped to pass the time until cover of darkness. In his early years, he says, he was all ears—but now it is his turn to talk.
Ray Cashman, who has been interviewing McGrath for more than fifteen years, demonstrates how Packy Jim embellishes daily conversation with stories of ghosts and fairies, heroic outlaws and hateful landlords. Such folklore is a boundless resource that he uses to come to grips with the past and present, this world and the next. His stories reveal an intricate worldview that is both idiosyncratic and shared—a testament to individual intelligence and talent, and a window into Irish vernacular culture.
When Henry Hudson explored the Delaware River in 1609, he dubbed it “one of the finest, best, and pleasantest rivers in the world.” Today, those same qualities make the Delaware one of the most popular rivers for recreational use in the United States. Although in places a near-wilderness, the Delaware is easily accessible to millions of residents. On any summer day there may be thousands of people rushing down its exciting rapids or lazing through its serene eddies.
A Paddler’s Guide to the Delaware River is an indispensable resource for anyone who wants to experience the Delaware River in a kayak, canoe, raft, or tube—or, for that matter, an automobile or an armchair. Reading the book is like travelling down the river with an experienced guide. It charts the non-tidal Delaware 200 miles from Hancock, New York, to Trenton, New Jersey, describing access points, rapids, natural features, villages, historical sites, campgrounds, outfitters, and restaurants. The Delaware comes alive as the author introduces some of the people, places, events, and controversies that have marked the river from earliest times to the present day.
Completely revised, the third edition offers:
An overview of the river including watershed, history, place names, paddlecraft, safety, and fishing.
The River Guide: ten sections that can each be paddled in one day (about 20 miles), with a mile-by-mile account of rapids, access, natural features, historic sites, and other features.
All new maps, with names for virtually every rapid, eddy, and other river feature, plus detailed diagrams for routes through even the most severe rapids.
Features in the River Guide highlight the people, events, natural history, and communities that define the river experience, such as Tom Quick, the infamous “avenger of the Delaware”; the mysterious migration of eels, the battle over Tocks Island Dam; and many others.
Appendices of Important Contacts, Outfitters and Campgrounds, River Trip Checklists, and more.
Whether you are a novice out for an afternoon float, a seasoned adventurer on an overnight expedition, or a resident fascinated by the lore of the Delaware Valley, this book is an invaluable guide.
In late August 1998, Kim Trevathan and his dog, Jasper, set out by canoe on a long, slow trip down the 652 miles of the Tennessee River, the largest tributary of the Ohio. Trevathan wanted to experience the river in its entirety, from Knoxville’s narrow, winding channel, which flows past rocky bluffs, to the wide-open waters of Kentucky Lake at its lower end.
Over the course of the five-week voyage, Trevathan rediscovered the people and places that made history on the Tennessee’s banks. He crossed the path of the explorer Meriwether Lewis along the Natchez Trace, noted the sites of Ulysses S. Grant’s Civil War battles, and passed Hiwassee Island, the spot where a teenaged runaway named Sam Houston lived with Cherokee Chief Jolly.
Trevathan also came to know the modern river’s dwellers, including a towboat pilot, two couples who traded in their landlocked homes for life on the river, a campground owner, and a meteorologist for NASA. He placed his life in the hands of U.S. Army Corps of Engineers lock operators as he and Jasper navigated the river’s nine dams.
Paddling the Tennessee River is a powerful travel narrative that captures the river’s wild, turbulent, and defiant past and confronts what it has become—an overused and overdeveloped series of lakes. But first and foremost, the book is the story of a man and his dog, riding low enough to smell the water and to discover the promise of a slow river running through the southern heartland.
The Author: Kim Trevathan, who earned his M.F.A. in creative writing at the University of Alabama, works as a new media writer and producer and writes a column for the Maryville Daily Times. His essays and short stories have been published in The Distillery, New Millennium Writings, The Texas Review, New Delta Review, and Under the Sun. He lives in Rockford, Tennessee.
From the 1848 Treaty of Guadalupe Hidalgo to the 1960s, Mexican American Catholics experienced racism and discrimination within the U.S. Catholic church, as white priests and bishops maintained a racial divide in all areas of the church's ministry. To oppose this religious apartheid and challenge the church to minister fairly to all of its faithful, a group of Chicano priests formed PADRES (Padres Asociados para Derechos Religiosos, Educativos y Sociales, or Priests Associated for Religious, Educational, and Social Rights) in 1969. Over the next twenty years of its existence, PADRES became a powerful force for change within the Catholic church and for social justice within American society.
This book offers the first history of the founding, activism, victories, and defeats of PADRES. At the heart of the book are oral history interviews with the founders of PADRES, who describe how their ministries in poor Mexican American parishes, as well as their own experiences of racism and discrimination within and outside the church, galvanized them into starting and sustaining the movement. Richard Martínez traces the ways in which PADRES was inspired by the Chicano movement and other civil rights struggles of the 1960s and also probes its linkages with liberation theology in Latin America. He uses a combination of social movement theory and organizational theory to explain why the group emerged, flourished, and eventually disbanded in 1989.
This authoritative work sheds light on the religious world of the Kalasha people of the Birir valley in the Chitral district of Pakistan, focusing on their winter feasts, which culminate every year in a great winter solstice festival. The Kalasha are not only the last example of a pre-Islamic culture in the Hindu Kush and Karakorum mountains but also practice the last observable example anywhere in the world of an archaic Indo-European religion. In this book, Augusto S. Cacopardo takes readers inside the world of the Kalasha people.
Cacopardo outlines the history and culture of this ancient but still extant people. Exploring an array of relevant literature, he enriches our understanding of their practices and beliefs through illuminating comparisons with both the Indian religious world and the religious folklore of Europe. Bringing together several disciplinary approaches and drawing on extensive ethnographic fieldwork, this book offers the first extended study of this little-known but fascinating Kalasha community. It will take its place as a standard international reference source on the anthropology, ethnography, and history of religions in Pakistan and Central South Asia.
In 1462 Pope Pius II performed the only reverse canonization in history, publicly damning a living man. The target was Sigismondo Malatesta, Lord of Rimini and a patron of the arts with ties to the Florentine Renaissance. Condemned to an afterlife of torment, he was burned in effigy in several places in Rome. What had this cultivated nobleman done to merit such a fate?
Pagan Virtue in a Christian World examines anew the contributions and contradictions of the Italian Renaissance, and in particular how the recovery of Greek and Roman literature and art led to a revival of pagan culture and morality in fifteenth-century Italy. The court of Sigismondo Malatesta (1417–1468), Anthony D’Elia shows, provides a case study in the Renaissance clash of pagan and Christian values, for Sigismondo was nothing if not flagrant in his embrace of the classical past. Poets likened him to Odysseus, hailed him as a new Jupiter, and proclaimed his immortal destiny. Sigismondo incorporated into a Christian church an unprecedented number of zodiac symbols and images of the Olympian gods and goddesses and had the body of the Greek pagan theologian Plethon buried there.
In the literature and art that Sigismondo commissioned, pagan virtues conflicted directly with Christian doctrine. Ambition was celebrated over humility, sexual pleasure over chastity, muscular athleticism over saintly asceticism, and astrological fortune over providence. In the pagan themes so prominent in Sigismondo’s court, D’Elia reveals new fault lines in the domains of culture, life, and religion in Renaissance Italy.
Now remembered primarily as Franz Kafta's friend and literary executor, Max Brod was an accomplishered thinker and writer in his own right. In this volume, he considers the nature and differences between Judaism and Christianity, addressing some of the most perplexing questions at the heart of human existence.
“One of the most famous and widely discussed books of the 1920’s, Max Brod’s Paganism—Christianity—Judaism, has at last found its way into English translation to confront a new generation of readers. Max Brod is best remembered today as the literary editor and friend of Franz Kafka. In his day, however, he was the more famous of the two by far. A major novelist, playwright, poet, essayist, and composer, he was also, as this book demonstrates, a serious thinker on the perennial questions that are at the heart of human existence. . . .Some of his judgments are open to question. Still, with all its limitations, this is a forthright and passionate proclamation of the uniqueness of Judaism. Paganism—Christianity—Judaism was an intellectual and spiritual event when it was first published and it remains a valuable document even now.” —Rabbi Jack Riemer, Hadassah
The Grand Duchy of Lithuania was the last European polity to renounce paganism and accept the Christian faith, at the end of the fourteenth century. However, the conversion of the Baltic region continued into the early modern period and the ongoing pagan beliefs and practices of Lithuanians and Prussians excited the interest of early ethnographers. This volume brings together Jan Łasicki's On the Gods of the Samogitians, Jan Malecki’s Little Book on the Sacrifices and Idolatry of the Old Prussians, and other Latin texts on Baltic paganism, none of which have hitherto been translated into English. A critical introduction places these texts, which are of interest far beyond the field of Central European history, in the contexts of early modern ethnography, Baltic history, and Reformation religious polemic.
At last, for those who adapt literature into scripts, a how-to book that illuminates the process of creating a stageworthy play. Page to Stage describes the essential steps for constructing adaptations for any theatrical venue, from the college classroom to a professionally produced production. Acclaimed director Vincent Murphy offers students in theater, literary studies, and creative writing a clear and easy-to-use guidebook on adaptation. Its step-by-step process will be valuable to professional theater artists as well, and for script writers in any medium. Murphy defines six essential building blocks and strategies for a successful adaptation, including theme, dialogue, character, imagery, storyline, and action. Exercises at the end of each chapter lead readers through the transformation process, from choosing their material to creating their own adaptations. The book provides case studies of successful adaptations, including The Grapes of Wrath (adaptation by Frank Galati) and the author's own adaptations of stories by Samuel Beckett and John Barth. Also included is practical information on building collaborative relationships, acquiring rights, and getting your adaptation produced.
Pages from Hopi History
Harry C. James University of Arizona Press, 1974 Library of Congress E99.H7J27 | Dewey Decimal 970.00497
"More than half a century of contact between the author and the Hopi people has resulted in an unusual opportunity for long informative talks with friends from the villages. These conversations in a variety of circumstances have helped to give depth to an understanding and appreciation uncommon among persons not born and raised in the Hopi way. . . . This work gives a comprehensive view of the Hopi as a people, in length of time covered as well as in depth and breadth."—Utah Historical Quarterly
"It is personal yet precise, emotional and involved, yet objective and factual. . . . Readers who know something of Hopi history will be fascinated by the new insights and interpretations presented by James."—Arizona and the West
"The author has been an active supporter of Hopi interests for some fifty years and this book is as much a testimony to his unflagging personal devotion to a small and neglected tribe as it is a history of the Hopis' determination to maintain their identity and self-respect."—Journal of Arizona History
"Harry James writes with sympathy and restraint about a proud people who have suffered unjustly in the past, and who today are seeking an identity. He brings into sharp focus the dreams for tomorrow of the Hopi tribe. Let these dreams be shared by others before it is too late."—The American West
"An amazing and gripping account of a very great and intelligent people, concentrating on fact rather than the fantastic legends that have grown up around this unique culture."—The Masterkey
"The Hopi are indeed a most interesting people, and this authentic account of their way of life is a valuable contribution to our knowledge of the Indian tribes of Arizona."—The Book Exchange
"For an excellent account of the history of the Hopi, the Southwest, typical government intervention into tribal affairs and the lives of the people . . . a must for any library."—Whispering Winds
The Pages of Day and Night
Adonis Northwestern University Press, 2001 Library of Congress PJ7862.A519A24 2000 | Dewey Decimal 892.716
Calling poetry a "question that begets another question," Adonis sets into motion this stream of unending inquiry with difficult questions about exile, identity, language, politics, and religion. Repeatedly mentioned as a possible Nobel laureate, Adonis is a leading figure in twentieth-century Arabic poetry.
Restless and relentless, Adonis explores the pain and otherness of exile, a state so complete that absence replaces identity and becomes the exile's only presence. Exile can take many forms for the Arabic poet, who must practice his craft as an outsider, separated not only from the nation of his birth but from his own language; in the present as in the past, that exile can mean censorship, banishment, or death. Through these poems, Adonis gives an exquisite voice to the silence of absence.
While the modern science of medicine often seems nothing short of miraculous, religion still plays an important role in the past and present of many hospitals. When three-quarters of Americans believe that God can cure people who have been given little or no chance of survival by their doctors, how do today’s technologically sophisticated health care organizations address spirituality and faith?
Through a combination of interviews with nurses, doctors, and chaplains across the United States and close observation of their daily routines, Wendy Cadge takes readers inside major academic medical institutions to explore how today’s doctors and hospitals address prayer and other forms of religion and spirituality. From chapels to intensive care units to the morgue, hospital caregivers speak directly in these pages about how religion is part of their daily work in visible and invisible ways. In Paging God: Religion in the Halls of Medicine, Cadge shifts attention away from the ongoing controversy about whether faith and spirituality should play a role in health care and back to the many ways that these powerful forces already function in healthcare today.
For 300 years, New Jersey writers, books, and historical events have helped shape the cultural landscape of the nation, and yet the state is rarely credited for its numerous contributions to American letters and folklore. Paging New Jersey is just the book for those interested in uncovering a treasure trove of information about the Garden State’s key role in the creation of U.S. literary and popular culture. New Jersey writers from Stephen Crane to Toni Morrison are included as well as longtime Camden resident Walt Whitman and Newark native Philip Roth.
James F. Broderick’s unique look at the state’s literary and cultural history answers intriguing Jersey-related questions such as: how author Peter Benchley got the idea for Jaws; where Aaron Burr shot Alexander Hamilton; why the Hindenberg exploded over Lakehurst in 1937; and where to find help in locating Captain Kidd’s buried treasure along the Jersey Shore. Most people know that television’s fictional Tony Soprano lives in New Jersey, but what about the state’s other mobsters— The real “goombahs?” Who are they and what have these particular Jersey devils written?
Full of commentary, biographical information, and history—along with suggested reading lists— Paging New Jersey is a crash course in Jerseyana. For those who live in the state, expatriots, and yes, even those who think all New Jersey has to offer is the Turnpike, Broderick’s engaging yet learned book provides an entertaining look at the Garden State’s rich cultural heritage.
On any given night in living rooms across America, women gather for a fun girls’ night out to eat, drink, and purchase the latest products—from Amway to Mary Kay cosmetics. Beneath the party atmosphere lies a billion-dollar industry, Direct Home Sales (DHS), which is currently changing how women navigate work and family.
Drawing from numerous interviews with consultants and observations at company-sponsored events, Paid to Party takes a closer look at how DHS promises to change the way we think and feel about the struggles of balancing work and family. Offering a new approach to a flexible work model, DHS companies tell women they can, in fact, have it all and not feel guilty. In DHS, work time is not measured by the hands of the clock, but by the emotional fulfillment and fun it brings.
Paideia and Cult explores the role of Christian education and worship in the complex process of conversion and Christianization. It analyzes the Catechetical Homilies of Theodore of Mopsuestia as a curriculum designed to train those seeking initiation into the Christian mysteries. Although Theodore gave considerable attention to teaching creedal theology, he sought to go beyond simply communicating information. His catechetical preaching set the teaching of Christian ideas within the context of religious community and ritual participation. In doing so he sought to produce a Christianized view of the world and of the convert’s place in a community of worship. Theodore’s attention to the communal, cognitive, and ritual components of initiation suggest a substantive understanding of religious conversion, yet one that avoids an overemphasis on intellectual and psychological transformation. Throughout this study catechesis emerges as invaluable for comprehending the ability of clergy to initiate new members as Christianity gained increasing prominence within the late Roman world.
Pain is immediate and searing but remains a deep mystery for sufferers, their physicians, and researchers. As neuroscientific research shows, even the immediate sensation of pain is shaped by psychological state and interpretation. At the same time, many individuals and cultures find meaning, particularly religious meaning, even in chronic and inexplicable pain.
This ambitious interdisciplinary book includes not only essays but also discussions among a wide range of specialists. Neuroscientists, psychiatrists, anthropologists, musicologists, and scholars of religion examine the ways that meditation, music, prayer, and ritual can mediate pain, offer a narrative that transcends the sufferer, and give public dignity to private agony. They discuss topics as disparate as the molecular basis of pain, the controversial status of gate control theory, the possible links between the relaxation response and meditative practices in Christianity and Buddhism, and the mediation of pain and intense emotion in music, dance, and ritual. The authors conclude by pondering the place of pain in understanding--or the human failure to understand--good and evil in history.
Pain and Profits tells the story of how a common ailment—the headache—became the center of a multibillion dollar pharmaceutical industry in the United States. Despite the increasing authority of the medical profession in the twentieth century, treatment of this condition has remained largely in the hands of the public. Using the headache as a case study, and advertising as a significant source of information, Jan McTavish traces the beginnings of the modern over-the-counter industry.
The American pharmaceutical industry developed from nineteenth-century suppliers of plant-derived drugs for both professional and home care. Two branches of the industry evolved over time—the ethical branch, which sold products only with prescriptions, and the nostrum branch, which was noted for its energetic marketing techniques. At the end of the century, they were joined by German companies that combined a strong commitment to science with aggressive salesmanship. Since German drugs were both highly effective in treating headaches and commonly available, sufferers wanting quick relief could easily obtain them. The result was a new kind of “legitimate” pharmaceutical industry that targeted consumers directly.
Historians of medicine as well as more general readers interested in the history of the headache will enjoy this fascinating account of the creation of the modern pharmaceutical industry.
Today, the Tower of London is a tourist site, home only to the crown jewels, but not long ago the imposing structure held traitors, political prisoners, and more, often on their way to the chopping block. Even outside of this famous building, prisons have changed radically since the Norman Conquest in 1066. In the first book on the history of prisons in Britain, former prison governor and professor of criminology David Wilson offers unrivaled insight into the penal system in England, Scotland, and Wales, charting the rise and fall of forms of punishments that take place behind their walls.
Pain and Retribution explores prisons as an institution and examines how they are designed, organized, and managed. Wilson reveals that prisons have to satisfy the demands of three interested parties: the public, from politicians and media commentators to everyday citizens; the prison staff; and the prisoners themselves. He shows how prevailing concerns and issues of the times allow one faction or another to have more power at varying points in history, and he considers how prisons are unable to satisfy all three at the same time—leading to the system being seen as a failure, despite rising numbers of prisoners and growing funds invested in keeping them incarcerated. With intriguing comparisons between the prisons of New York City and Britain and searching questions about the purposes of the current penal system, Pain and Retribution provides unparalleled access to prison landings, staffs, and the people behind the locked doors.
The first book to be written on the Judge Rotenberg Center and their use of painful interventions to control the behavior of children and adults with disabilities.
For more than forty years, professionals in the field of disability studies have engaged in debates over the use of aversive interventions (such as electric shock) like the ones used at the Judge Rotenberg Center. Advocates and lawyers have filed complaints and lawsuits to both use them and ban them, scientists have written hundreds of articles for and against them, and people with disabilities have lost their lives and, some would say, lived their lives because of them. There are families who believe deeply in the need to use aversives to control their children’s behavior. There are others who believe the techniques used are torture. All of these families have children who have been excluded from numerous educational and treatment programs because of their behaviors. For most of the families, placement at the Judge Rotenberg Center is the last resort.
This book is a historical case study of the Judge Rotenberg Center, named after the judge who ruled in favor of keeping its doors open to use aversive interventions. It chronicles and analyzes the events and people involved for over forty years that contributed to the inability of the state of Massachusetts to stop the use of electric shock, and other severe forms of punishment on children and adults with disabilities. It is a long story, sad and tragic, complex, filled with intrigue and questions about society and its ability to protect and support its most vulnerable citizens.
In this brief but staggering two-act, playwright Norris demonstrates his skill at drawing out the dark truth that lurks beneath the surface of the “perfect” family. His crackling satire takes dead aim at the self-satisfied, left-leaning American upper-middle class and its many self-delusions.
On a winter afternoon, Kelly and Clay—an attractive, prosperous, seemingly happy couple with a four-year-old daughter and a newborn baby—must explain to a visitor the events of the previous Thanksgiving, on which, so it seems, someone or something had been gnawing at the avocados on their kitchen table. In the course of this holiday gathering—attended by Clay’s mother, a well-meaning but clueless first-grade teacher who spouts pointless liberal bromides; his brother, a plastic surgeon with a nihilistic streak and a taste for martinis; and his brother's girlfriend, a sexy Balkan immigrant with a love for all things American (racism included)—the recent past is unearthed along with revelations of failed marriages, fraternal hatred, infidelity and venereal disease, in the form of their daughter’s nasty genital infection. And it’s a comedy. As the story is gradually unfolded to their visitor, a Muslim cab driver, his relationship to the events becomes increasingly clear, as does the emptiness of the family’s supposed benevolence and sensitivity.
With its crashing emotion and cutting humor, this vicious dissection of the comfortable progressive life lays bare the lies that people use to feel righteous even as they veer off a genuinely ethical path.
Pain, Death, and the Law
Austin Sarat, Editor University of Michigan Press, 2001 Library of Congress KF9227.C2P35 2001 | Dewey Decimal 345.730773
This collection of essays examines the relationship between pain, death, and the law and addresses the question of how the law constructs pain and death as jurisprudential facts. The empirical focus of these essays enables the reader to delve into both the history and the theoretical complexities of the pain-death-law relationship. The combination of the theoretical and the empirical broadens the contribution this volume will undoubtedly make to debates in which the right to live or die is the core issue at hand.
This volume will be an important read for policy makers and legal practitioners and a valuable text for courses in law, the social sciences, and the humanities.
Austin Sarat is William Nelson Cromwell Professor of Jurisprudence and Political Science, Amherst College.
How should we weigh the costs and benefits of scientific research on humans? Is it right that a small group of people should suffer in order that a larger number can live better, healthier lives? Or is an individual truly sovereign, unable to be plotted as part of such a calculation?
These are questions that have bedeviled scientists, doctors, and ethicists for decades, and in Pain, Pleasure, and the Greater Good, Cathy Gere presents the gripping story of how we have addressed them over time. Today, we are horrified at the idea that a medical experiment could be performed on someone without consent. But, as Gere shows, that represents a relatively recent shift: for more than two centuries, from the birth of utilitarianism in the eighteenth century, the doctrine of the greater good held sway. If a researcher believed his work would benefit humanity, then inflicting pain, or even death, on unwitting or captive subjects was considered ethically acceptable. It was only in the wake of World War II, and the revelations of Nazi medical atrocities, that public and medical opinion began to change, culminating in the National Research Act of 1974, which mandated informed consent. Showing that utilitarianism is based in the idea that humans are motivated only by pain and pleasure, Gere cautions that that greater good thinking is on the upswing again today and that the lesson of history is in imminent danger of being lost.
Rooted in the experiences of real people, and with major consequences for how we think about ourselves and our rights, Pain, Pleasure, and the Greater Good is a dazzling, ambitious history.
At the age of fourteen, a young man in Waveland, Indiana, had taken over the family farm after the death of his father. Now responsible for taking care of his widowed mother and supporting his four brothers, he took up the reins on the plow to begin preparing the field for planting. Family legend has it that the young farmer, Theodore Clement Steele, tied “colored ribbons to the handles of the plow so that he could watch the ribbons in the wind and the effect that they had on the [surrounding] colors.” Recognizing Steele’s passion for art, his mother supported his choice to make his living as an artist. T. C. Steele, the eighth volume in the Indiana Historical Society Press’s youth biography series, traces the path of Steele’s career as an artist from his early studies in Germany to his determination to paint what he knew best, the Indiana landscape. Steele, along with fellow artists William Forsyth, Otto Stark, Richard Gruelle, and J. Ottis Adams, became a member of the renowned Hoosier Group and became a leader in the development of Midwestern art.
Throughout the nineteenth-century, itinerant painters traveled the length and breadth of Europe and American in search of patronage. In the company of the his crupulous wife, Emma S. Cameron (1825–1907), the Scots-born James Cameron (1816–1882) sought to fulfill his ambitious dream of becoming an artist.
Working primarily as a landscapist and portraitist—he was also an inventor, a missionary, an ordained minister, a land agent, farmer, clothing merchant, and Sunday school teacher—Cameron produced a small collection of paintings during the ten-year period the couple resided in East Tennessee and the American South. Driven by the wife’s lively journals, correspondence, and Civil War diary, Moffatt’s narrative details the couple’s marriage, their extended honeymoon in revolutionary Italy and, following a brief excursion in the Adirondacks, their subsequent residencies in Knoxville, Chattanooga, Memphis, Nashville, Augusta, central Mississippi, and New Orleans, between 1856 and 1868. While in Chattanooga, they settled near Col. James A. Whiteside’s fashionable summer resort, Lookout Mountain Hotel, where James reigned as resident artist and Emma, reluctantly, served as the house nurse and social entertainer. In the late 1860s they lived in Maine and, after 1874, in California, where they founded separate Presbyterian churches.
The book emphasizes Cameron’s painting career, the patrons who supported it, and discusses his best-known works, all of which are reproduced here. The study demonstrated how persisted while working under a cultural cloud that often devalued artistic achievement Emma’s journals reveal her to be a perceptive observer of Protestant middle class “life-on-the-run” and yields insight into historic events in the making, including the Italian Risorgimento, the American Civil War, and the settlement of America’s Western frontier. Moffatt’s detailed joint biography provides a valuable contribution to women’s studies, art history, nineteenth-century frontier expansionism, and social history.
Thomas Wijck’s painted alchemical laboratories were celebrated in his day as "artful" and "ingenious." They fell into obscurity along withtheir subject, as alchemy came to be viewed as an occult art or a fool’s errand. But these unusual pictures challenge our understanding of early modern alchemy-and of the deeper relationship between chemical workshops and the artists who represented them. The work of artists, like the work of alchemists, contained intellectual-creative and manual-material aspects. Both alchemists and artists claimed a special status owing to their creative powers. Wijck’s formation of an artistic and professional identity around alchemical themes reveals his desire to explore this curious territory, and ultimately to demonstrate art’s superior claims to knowledge and mastery over nature. This book explores one artist’s transformation of alchemy and its materials into a reputation for virtuosity-and what his work can teach us about the experimental early modern world.
The Painted Bunting’s Last Molt explores fatherhood, parenting, and separation anxiety; and the ways in which time and memory are both a prison and a giver of joy. Fifteen years in the making, Virgil Suárez’s new collection uses his mother’s return to Cuba after 50 years of exile as a catalyst to muse on familial relationships, death, and the passing of time.
If it were the Eucharist, it’d be hard to swallow,
this moon of lost impressions, a boy in deep water,
something tickling his skin. This memory of weight-
lessness—a kite that somehow still manages to hover
in the dog mouth blackness of sky. This is a cut out
moon of lost children, or is it a savior’s moon?
This boy will float on home, or be swallowed
by the water. Above the pines and mangroves,
this moon hangs unrelenting. Is it the one eye
of an indifferent God that remains open just so?
Highlighting one of the Peabody Museum's most important archaeological expeditions—the excavation of the Swarts Ranch Ruin in southwestern New Mexico by Harriet and Burton Cosgrove in the mid-1920s—Steven LeBlanc's book features rare, never-before-published examples of Mimbres painted pottery, considered by many scholars to be the most unique of all the ancient art traditions of North America. Made between A.D. 1000 and 1150, these pottery bowls and jars depict birds, fish, insects, and mammals that the Mimbres encountered in their daily lives, portray mythical beings, and show humans participating in both ritual and everyday activities. LeBlanc traces the origins of the Mimbres people and what became of them, and he explores our present understanding of what the images mean and what scholars have learned about the Mimbres people in the 75 years since the Cosgroves' expedition.
The Painted Canoe
Anthony Winkler University of Chicago Press, 1989 Library of Congress PS3573.I53218P35 1989 | Dewey Decimal 813.54
"You learn dat dis world don't love negar! And negar don't make for dis world!" Zachariah's mother warned him when he was still a boy. Yet, poor and abominably ugly, the Jamaican fisherman grasps lovingly for life, though the worst forces of nature conspire against him. Washed far out to sea in the night, Zachariah is attacked by a hammerhead shark, scorched by the Caribbean sun, hurled about by the sea which both frightens and entices him, and confused by his own encroaching madness. In a rare weave of humor and sadness, Zachariah forces himself to reflect on his life and the strangeness of chance, on anything but his place as a small man in a fragile boat in the boundless sea.
Still on land are the villagers, the woman, and the sons who comprise life for Zachariah. While he struggles with the forces of nature, the natural faith of the villagers encounters the incapacity for belief of the troubled English doctor. As the superstitions and certainties of Jamaican life and the consequences of science meet, Winkler reveals a rich understanding of the precarious balance between thought and reality, between the coincidental and the miraculous.
"This is one of those rare novels that announces its presence with such modest grace that the size of its ambition and accomplishments steals gently into the consciousness."—Michael Thelwell, Washington Post Book World
"Mr. Winkler deftly unfurls his exquisitely written story, which is redolent of the colorful patois and chaotic flavor of rural Jamaican culture."—Bob Allen, Baltimore Sun
Most people who are familiar with the Painted Desert of northeastern Arizona know it only from having pulled off at the Petrified Forest exit on Interstate 40. If they happen to come by it at midday, as most do, they find a landscape drained of color and flattened under the direct sunlight.
But this remote pocket of the Arizona desert, sandwiched between the Little Colorado River on one side and bold escarpments on the other, is much more than most tourists ever experience. An ethereal landscape of sculpted rock, wind-fluted cliffs, and elegantly drifting sand, the Painted Desert is a rich storehouse of natural beauty, colorful history, and scientific wonders. Here the strongest winds in Arizona blow across extensive dunefields, where less than ten inches of rain falls each year and only a few desert-savvy Navajo are able to live.
Now, for the first time award-winning writer Scott Thybony and freelance photographer David Edwards offer an intimate look at a place that remains inhospitable and inaccessible to so many. They share insights about the geology, paleontology, anthropology, and human history of the region as well as personal stories that dispel the misconceptions and mysteries that surround this delicate and difficult landscape.
With fifteen stunning photographs gracing the text, this book offers a vibrant portrait of one of the Southwest’s most barren, and most colorful landscapes.
The Painted Forest
Krista Eastman West Virginia University Press, 2019 Library of Congress PS3605.A855A6 2019 | Dewey Decimal 814.6
Council for Wisconsin Writers, Norbert Blei/August Derleth Nonfiction Book Award winner
In this often-surprising book of essays, Krista Eastman explores the myths we make about who we are and where we’re from. The Painted Forest uncovers strange and little-known “home places”—not only the picturesque hills and valleys of the author’s childhood in rural Wisconsin, but also tourist towns, the “under-imagined and overly caricatured” Midwest, and a far-flung station in Antarctica where the filmmaker Werner Herzog makes an unexpected appearance.
The Painted Forest upends easy narratives of place, embracing tentativeness and erasing boundaries. But it is Eastman’s willingness to play—to follow her curiosity down every odd path, to exude a skeptical wonder—that gives this book depth and distinction. An unlikely array of people, places, and texts meet for close conversation, and tension is diffused with art, imagination, and a strong sense of there being some other way forward. Eastman offers a smart and contemporary take on how we wander and how we belong.
This book presents four case studies that interrogate how German fifteenth-century painted triptychs engage with, and ultimately blur various boundaries. Some of the boundaries are internal to the triptych format, for example, transgressed frames between narratives scenes on triptychs’ interiors, or interconnections between imagery on triptychs’ interiors and exteriors. Other blurred boundaries are regional ones between the Netherlands and Cologne; metaphysical ones between heaven and earth; and artistic distinctions between the media of painting and sculpture. The book’s case studies, which shed new light on Conrad von Soest, Stefan Lochner, and the Master of the St. Bartholomew Altarpiece, illuminate the importance of German fifteenth-century painting, while providing a fresh assessment of relations between German triptychs and their more famous Netherlandish counterparts—and demonstrating the value of probing Medialität, the implications of format and medium for generating meaning. The book’s coda assesses the triptych in the age of Dürer.
Painted Words presents a facsimile, decipherment, and analysis of a seventeenth-century pictographic catechism from colonial Mexico, preserved as Fonds Mexicain 399 at the Bibliothèque Nationale de France. Works in this genre present the Catholic catechism in pictures that were read sign by sign as aids to memorization and oral performance. They have long been understood as a product of the experimental techniques of early evangelization, but this study shows that they are better understood as indigenous expressions of devotional knowledge.
In addition to inventive pictography to recount the catechism, this manuscript features Nahuatl texts that focus on don Pedro Moteuczoma, son of the Mexica ruler Moteuczoma the Younger, and his home, San Sebastián Atzaqualco. Other glosses identify figures drawn within the manuscript as Nahua and Spanish historical personages, as if the catechism had been repurposed as a dynastic record. The end of the document displays a series of Nahua and Spanish heraldic devices.
These combined pictorial and alphabetic expressions form a spectacular example of how colonial pictographers created innovative text genres, through which they reimagined pre-Columbian writing and early evangelization—and ultimately articulated newly emerging assertions of indigenous identity and memorialized native history.
A mystery set around an artist’s studio in Toronto.
A Toronto artist finds herself in the unlikely role of amateur sleuth as she sets about unraveling the strange death of her mentor, a renowned artist, through the tangle of a working art studio and the legacies left behind by the murdered artist’s love of mythology and Shakespeare.
“A triple treat for mystery lovers! There’s the murder investigation of a wonderful
artist, his unique legacies, each requiring a knowledge of mythology and
in the artist’s studio we discover how paintings are made . . .”
The Dutch Republic was a cultural powerhouse in the modern era, producing lasting masterpieces in painting and publishing, and in the process transforming those fields from modest trades to booming industries. This book asks the question of how such a small nation could become such a major player in those fields. Claartje Rasterhoff shows how industrial organisations played a role in shaping patterns of growth and innovations. As early modern Dutch cultural industries were concentrated geographically, highly networked, and institutionally embedded, they were able to reduce uncertainty in the marketplace and stimulate the commercial and creative potential of painters and publishers-though those successes eventually came up against the limits of a saturated domestic market and an aversion to risk on the part of producers that ultimately brought an end to the boom.
Painting Culture tells the complex story of how, over the past three decades, the acrylic "dot" paintings of central Australia were transformed into objects of international high art, eagerly sought by upscale galleries and collectors. Since the early 1970s, Fred R. Myers has studied—often as a participant-observer—the Pintupi, one of several Aboriginal groups who paint the famous acrylic works. Describing their paintings and the complicated cultural issues they raise, Myers looks at how the paintings represent Aboriginal people and their culture and how their heritage is translated into exchangeable values. He tracks the way these paintings become high art as they move outward from indigenous communities through and among other social institutions—the world of dealers, museums, and critics. At the same time, he shows how this change in the status of the acrylic paintings is directly related to the initiative of the painters themselves and their hopes for greater levels of recognition.
Painting Culture describes in detail the actual practice of painting, insisting that such a focus is necessary to engage directly with the role of the art in the lives of contemporary Aboriginals. The book includes a unique local art history, a study of the complete corpus of two painters over a two-year period. It also explores the awkward local issues around the valuation and sale of the acrylic paintings, traces the shifting approaches of the Australian government and key organizations such as the Aboriginal Arts Board to the promotion of the work, and describes the early and subsequent phases of the works’ inclusion in major Australian and international exhibitions. Myers provides an account of some of the events related to these exhibits, most notably the Asia Society’s 1988 "Dreamings" show in New York, which was so pivotal in bringing the work to North American notice. He also traces the approaches and concerns of dealers, ranging from semi-tourist outlets in Alice Springs to more prestigious venues in Sydney and Melbourne.
With its innovative approach to the transnational circulation of culture, this book will appeal to art historians, as well as those in cultural anthropology, cultural studies, museum studies, and performance studies.
This compelling new study considers contemporary painting’s relationship with time and with events, ideas, and paintings from the past. Following French philosopher Jean-François Lyotard’s determination of painting as entailing a series of temporal sites, Painting, History and Meaning examines works that tendentiously engage with aspects and events derived from the past. Craig Staff explores art that has encompassed strategies of excavation, anachronism, and memorialization, examining key works by artists including Dana Schutz, Tomma Abts, Gerhard Richter, Marlene Dumas, Johannes Phokela, and Taus Makhacheva. A scholarly examination of contemporary painting through an innovative interdisciplinary research methodology, this fascinating study illuminates the complex relationship between art and history.
The upheavals of glasnost and perestroika followed by the collapse of the Soviet Union remarkably transformed the art scene in Kyiv, launching Ukrainian contemporary art as a global phenomenon. The previously calm waters of the culturally provincial capital of the Ukrainian Soviet Republic became radically stirred with new and daring art made publicly visible for the first time since the avant-garde period of the early twentieth century. As artists were freed from the dictates of the fading Communist ideology and the constraints of late socialist realism, an explosion of styles emerged, creating an effect of baroque excess. This exhibition catalogue traces and documents the diverse artistic manifestations of these transitional and exhilarating years in Kyiv while providing some historical artworks for context. Published in partnership with the Zimmerli Museum.
The Painting of T'ang Yin
Anne De Coursey Clapp University of Chicago Press, 1991 Library of Congress ND1049.T29C58 1991 | Dewey Decimal 759.951
+This richly illustrated volume documents the art and fully examines the career of the sixteenth-century Chinese master T'ang Yin. One of the four great painters of the middle Ming period, the ambitious T'ang Yin rose above the merchant class into which he was born to become a member of the elite scholarly circle in the city of Suchou. Deprived by accident of his academic degrees and so forced to paint for a living, T'ang Yin became a social anomaly whose style of life cut across the conventions of his time. His experiences throw into sharp relief the realities faced by a Chinese painter who was both elite Confucian scholar and professional painter.
Anne De Coursey Clapp's work also explores larger issues of Ming painting raised by the artist's turbulent career. She describes the social and intellectual values exalted in Ming Suchou, its system of patronage, the contrast between the professional and amateur artist, and the formative influence of twelfth-century Sung dynasty styles on Suchou painters. Clapp shows how T'ang Yin's artistic inventions were made in the course of leading the revival of Sung dynasty styles in Suchou: tracing T'ang Yin's early studies of ancient and contemporary masters, she describes how he reworked an antique style, converting it into a vehicle of expression that reached fruition in a long series of fresh and powerful paintings of landscapes and birds-and-flowers. In the process, she revises the distorted version of middle Ming painting written by later Chinese art theorists to justify their own social and artistic values, noting especially the role of art patrons and their effect on artistic production.
Clapp analyzes the increasing currency of painting as a means of social exchange in ancient China. In particular, she identifies commemorative painting as a major genre of the later dynasties and explores the role it played in the oeuvres of professional masters with its humanistic implications for the Chinese view of the ideal scholarly man. Her broad view of T'ang Yin's career shows him divided between the professional and amateur camps of his time: in landscape and figural subjects he was aligned with the professionals; in flower subjects with the amateurs. Clap argues that the uneven distribution of styles and genres between this master who was subject to the market, and those who were independent of it, suggests that T'ang deliberately tried to expand the range of his paintings in order to appeal to buyers in the lower educational and social strata. Illustrated by some of T'ang Yin's most celebrated paintings and by some which are published for the first time, her work is of tremendous importance to art, literary, and cultural historians of Ming China.
"In this important work, Anne de Coursey Clapp has drawn a clear picture of T'ang Yin's life, patronage relationships, and contribution to the history of Chinese painting. In the person of T'ang Yin, she has chosen an ideal focus around which to examine some of the misleading stereotypes
which have distorted our understanding of Chinese painting since the seventeenth century. Marked by analytical clarity and scrupulous scholarship, her work is a welcome addition to the few works in English on individual Chinese artists."—Louise Yuhas, Occidental College
Why have some great modern artists—including Picasso—produced their most important work early in their careers while others—like Cézanne—have done theirs late in life? In a work that brings new insights, and new dimensions, to the history of modern art, David Galenson examines the careers of more than 100 modern painters to disclose a fascinating relationship between age and artistic creativity.
Galenson’s analysis of the careers of figures such as Monet, Seurat, Matisse, Pollock, and Jasper Johns reveals two very different methods by which artists have made innovations, each associated with a very different pattern of discovery over the life cycle. Experimental innovators, like Cézanne, work by trial and error, and arrive at their most important contributions gradually. In contrast, Picasso and other conceptual innovators make sudden breakthroughs by formulating new ideas. Consequently, experimental innovators usually make their discoveries late in their lives, whereas conceptual innovators typically peak at an early age.
A novel contribution to the history of modern art, both in method and in substance, Painting outside the Lines offers an enlightening glimpse into the relationship between the working methods and the life cycles of modern artists. The book’s explicit use of simple but powerful quantitative techniques allows for systematic generalization about large numbers of artists—and illuminates significant but little understood features of the history of modern art. Pointing to a new and richer understanding of that history, from Impressionism to Abstract Expressionism and beyond, Galenson’s work also has broad implications for future attempts to understand the nature of human creativity in general.
Public art is a form of communication that enables spaces for encounters across difference. These encounters may be routine, repeated, or rare, but all take place in urban spaces infused with emotion, creativity, and experimentation. In Painting Publics, Caitlin Bruce explores how various legal graffiti scenes across the United States, Mexico, and Europe provide diverse ways for artists to navigate their changing relationships with publics, institutions, and commercial entities.
Painting Publics draws on a combination of interviews with more than 100 graffiti writers as well as participant observation, and uses critical and rhetorical theory to argue that graffiti should be seen as more than counter-cultural resistance. Bruce claims it offers resources for imagining a more democratic city, one that builds and grows from personal relations, abandoned or under-used spaces, commercial sponsorship, and tacit community resources. In the case of Mexico, Germany, and France, there is even some state support for the production and maintenance of civic education through visual culture.
In her examination of graffiti culture and its spaces of inscription, Bruce allows us to see moments where practitioners actively reckon with possibility.
Certificate of Commendation, American Association for State and Local History, 1994
T. R. Fehrenbach Book Award, Texas Historical Commission, 1992
San Antonio Conservation Society Citation, 1993
Dramatic historical events have frequently provided subject matter for artists, particularly in pre-twentieth-century Texas, where works portraying historical, often legendary, events and individuals predominated. Until now, however, these paintings of Texas history have never received the kind of study given to historical, fictional, and film versions of the same events. Painting Texas History to 1900 fills this gap with an interdisciplinary approach that explores these paintings both as works of art and as historical documents.
The author examines the works of more than forty artists, including Henry McArdle, Theodore Gentilz, Robert Onderdonk, William Huddle, Frederic Remington, Friedrich Richard Petri, Arthur T. Lee, Seth Eastman, Sarah Hardinge, Frank Reaugh, W. G. M. Samuel, Carl G. von Iwonski, and Julius Stockfleth. He places each work within its historical and cultural context to show why such subject matter was chosen, why it was depicted in a particular way, and why such a depiction gained popular acceptance. For example, paintings of heroic events of the Texas Revolution were especially popular in the years following the Civil War, when, in Ratcliffe's view, Texans needed such images to assuage the loss of the war and the humiliation of Reconstruction.
Though the paintings cut across traditional art history categories—from the pictographs of early historic Indians to European-inspired oil paintings—they are bound together by their artists' intent for them to function as historically evocative documents. With their visual narratives of events that characterized all of America's westward expansion—Indian encounters, military battles, farming, ranching, surveying, and the closing of the frontier—these works add an important chapter to the story of the American West.
Painting the City Red illuminates the dynamic relationship between the visual media, particularly film and theater, and the planning and development of cities in China and Taiwan, from the emergence of the People’s Republic in 1949 to the staging of the Beijing Olympics in 2008. Yomi Braester argues that the transformation of Chinese cities in recent decades is a result not only of China’s abandonment of Maoist economic planning in favor of capitalist globalization but also of a shift in visual practices. Rather than simply reflect urban culture, movies and stage dramas have facilitated the development of new perceptions of space and time, representing the future city variously as an ideal socialist city, a metropolis integrated into the global economy, and a site for preserving cultural heritage.
Drawing on extensive archival research, interviews with leading filmmakers and urban planners, and close readings of scripts and images, Braester describes how films and stage plays have promoted and opposed official urban plans and policies as they have addressed issues such as demolition-and-relocation plans, the preservation of vernacular architecture, and the global real estate market. He shows how the cinematic rewriting of historical narratives has accompanied the spatial reorganization of specific urban sites, including Nanjing Road in Shanghai; veterans’ villages in Taipei; and Tiananmen Square, centuries-old courtyards, and postmodern architectural landmarks in Beijing. In Painting the City Red, Braester reveals the role that film and theater have played in mediating state power, cultural norms, and the struggle for civil society in Chinese cities.
The picture plane of a painting creates boundaries and perspectives. It governs the relationship of daubs of pigment on a canvas to reality, allowing the viewer to connect with the imagined world of a work of art. Charles Harrison's latest endeavor, Painting the Difference, explores the role of the picture plane in modern painting and the relationships it creates among the artist, the subject, and the spectator. One of the most respected teachers and theorists of modern art, Harrison here offers a bold interpretation of the Modernist canon that uncovers the significance of gender to the functioning of the picture plane.
Arguing that the representation of women in art was crucial to the character of modernity, Harrison traces the history of female subjects as they began to gaze out of the picture to confront and engage their viewers. Combining sweeping conceptual history with telling investigations into the details of particular paintings, Painting the Difference deciphers the implications of sexual difference for the development of nineteenth- and twentieth-century art. Harrison shows how artists, reflecting the underlying anxieties of the time about gender, used female subjects' gazes both to create a sexualized relationship between these subjects and their viewers, and to simultaneously question that relationship. In considering works by artists such as Renoir, Manet, Degas, Cézanne, Picasso, and Matisse, as well as Rothko, Warhol, Cindy Sherman, and many more, Harrison incorporates elements of cultural criticism and social history into his arguments, and generous color illustrations permit the reader to test Harrison's claims against the works on which they are based. Rich with detail and compelling analysis, Painting the Difference offers cutting-edge interpretation grounded in the reality of magnificent works of art.
Innovative and lavishly illustrated, Painting the Gospel offers an indispensable contribution to conversations about African American art, theology, politics, and identity in Chicago. Kymberly N. Pinder escorts readers on an eye-opening odyssey to the murals, stained glass, and sculptures dotting the city's African American churches and neighborhoods. Moving from Chicago's oldest black Christ figure to contemporary religious street art, Pinder explores ideas like blackness in public, art for black communities, and the relationship of Afrocentric art to Black Liberation Theology. She also focuses attention on art excluded from scholarship due to racial or religious particularity. Throughout, she reflects on the myriad ways private black identities assert public and political goals through imagery.
Painting the Gospel includes maps and tour itineraries that allow readers to make conceptual, historical, and geographical connections among the works.
Lavishly illustrated with nearly 400 color images, Painting the Maya Universe is the most thorough study and brilliant display of Classic Maya ceramic painting yet published. Building on twenty years of research and debate, Dorie Reents-Budet and her collaborators Joseph W. Ball, Ronald L. Bishop, Virginia M. Fields, and Barbara MacLeod bring together many perspectives, including the art historical, archaeological, epigraphical, and ethnohistorical, to examine one of the world’s great but overlooked painting traditions. With an emphasis on sixth- to eighth-century pottery featuring both pictorial and hieroglyphic imagery, Painting the Maya Universe presents an extraordinary exploration of the cultural roles and meanings of these Guatemalan, Belizean, and Mexican elite painted ceramics. Maya pottery is discussed both in aesthetic terms and for the important information it reveals about Maya society, artistry, politics, history, religion, and ritual. The range of ceramic painting styles developed during this period is also presented and defined in detail. Painting the Maya Universe is the first publication to present a definitive translation of the hieroglyphic texts painted on these objects. With many glyphs deciphered here for the first time, this analysis reveals much about how these vessels were perceived and used by the Maya, their owners’ names, and, in several cases, the names of the artists who created them. This information is combined with archaeological and other data, including nuclear chemical analyses, to correlate painting styles with specific Maya sites. Published in conjunction with Duke University Museum of Art and an exhibition touring the United States, Painting the Maya Universe presents an astonishing visual record as well as a monumental scholarly achievement. With photographs by Justin Kerr, the foremost photographer of pre-Columbian art, it includes over 90 unique full-color rollout photographs, each showing the entire surface of an object in a single frame. The book also addresses the questions and controversy regarding the loss of information that occurs when objects are removed from their archaeological context to become part of public and private collections. Painting the Maya Universe will energize discussion of Maya pottery, hieroglyphic texts, and iconography. Its photographs, a lasting resource on this great painting tradition, will stimulate and delight the eye. It is a breakthrough in art history and Latin American scholarship that will enrich general readers and scholars alike.
Mesoamerican communities past and present are characterized by their strong inclination toward color and their expert use of the natural environment to create dyes and paints. In pre-Hispanic times, skin was among the preferred surfaces on which to apply coloring materials. Archaeological research and historical and iconographic evidence show that, in Mesoamerica, the human body—alive or dead—received various treatments and procedures for coloring it.
Painting the Skin brings together exciting research on painted skins in Mesoamerica. Chapters explore the materiality, uses, and cultural meanings of the colors applied to a multitude of skins, including bodies, codices made of hide and vegetal paper, and even building “skins.” Contributors offer physicochemical analysis and compare compositions, manufactures, and attached meanings of pigments and colorants across various social and symbolic contexts and registers. They also compare these Mesoamerican colors with those used in other ancient cultures from both the Old and New Worlds. This cross-cultural perspective reveals crucial similarities and differences in the way cultures have painted on skins of all types.
Examining color in Mesoamerica broadens understandings of Native religious systems and world views. Tracing the path of color use and meaning from pre-Columbian times to the present allows for the study of the preparation, meanings, social uses, and thousand-year origins of the coloring materials used by today’s Indigenous peoples.
María Isabel Álvarez Icaza Longoria
Bruno Giovanni Brunetti
Élodie Dupey García
Tatiana Falcón Álvarez
Anne Genachte-Le Bail
Patricia Horcajada Campos
Linda R. Manzanilla Naim
Virgina E. Miller
Patricia Quintana Owen
Franco D. Rossi
María Luisa Vázquez de Ágredos Pascual
Cristina Vidal Lorenzo
Painting the Soul is a beautifully illustrated study of the creation and development of the icon.
"This book is a firework display. It sets off scores of explosions which light up the sky over-arching our field, terrain that is normally traversed nose down and too mindful of the footsteps of our predecessors."—Burlington Magazine
In 1919, in the wake of World War I, for a brief period Hungary was a Soviet Republic. The republic didn’t last, but the incredible effusion of art, music, film, theater, and literature that it generated did. Painting the Town Red offers an in-depth exploration of the incredible artistic flourishing brought about by the 1919 republic, showing how art and politics were intertwined—and how, for a brief time, artists saw themselves as playing a crucial part in the establishment of a new way of living and governing. Through close analyses of the works of a number of creators and a careful recounting of the history and politics of the 1919 republic, Bob Dent brings a largely forgotten moment back to life, with all its glory and, ultimately, disillusion.
The achievements of Italian Renaissance painter Giovanni Gerolamo Savoldo were, even during a period of unprecedented artistry, out of the ordinary. Born in Brescia around 1480, he radically reimagined Christian subjects. His surviving oeuvre of roughly fifty paintings—from the intensely poetic Tobias and the Angel to sober self-portraits—represents some of the most profound work of the period. In Painting with Demons, a beautifully illustrated book and the first in English devoted to the painter, Michael Fried brings his celebrated skills of looking and thinking to bear on Savoldo’s art, providing a stunning contribution to our understanding both of the early modern European imagination and of the achievement of this underappreciated artist.
Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our conceptions of photography today. As early as the 1670s, experimental philosophers at the Royal Society of London had studied the visual effects of dynamic combustibles. By the 1770s, chemical volatility became central to the ambitious paintings of Sir Joshua Reynolds, premier portraitist and first president of Britain’s Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds’s unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography.
Tracing the long arc of chemically produced and reproduced art from the 1670s through the 1860s, the book reconsiders early photography by situating it in relationship to Reynolds’s replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.
One of the great kingdoms of human history, the Mughal Empire is now lost to the relentless sweep of time. But the wealth of treasures left behind offers a lasting testament to the sumptuousness of its culture. Among the most notable of these treasures are the lush miniature paintings showing the splendor of Mughal imperial life.
Andrew Topsfield examines these paintings that bear the influence of Indian, Islamic, and Persian styles and portray a variety of subjects, from hunting, royal banquets, and other scenes of imperial life to legends, battles, and mythic deities. Among the paintings featured in the book’s vibrant reproductions are illustrations from the celebrated Baharistan manuscript of 1595 and works created between the reign of Akbar and the fall of Shah Jahan in 1658—an era considered to be the height of Mughal art. For this new edition, Topsfield has made corrections and revisions reflecting new research.
A fascinating and gorgeously illustrated study, Paintings from Mughal India will be an invaluable resource for all art scholars and anyone interested in the legacy of the Mughal Empire.
One of the great kingdoms of human history, the Mughal empire is now lost to the relentless sweep of time. But the wealth of art treasures the Mughals left behind is nonetheless a lasting testament to the sumptuousness of their culture. Among the most notable vestiges of their art are the lush miniature paintings of Mughal imperial life, and Andrew Topsfield explores a rich array of these painted works in Paintings from Mughal India.
Between the sixteenth and eighteenth centuries, the Mughal emperors presided over a flourishing cultural renaissance, and these miniature paintings vividly depict the splendor of this period. Topsfield examines the paintings’ unique blend of Indian, Islamic, and Persian styles and analyzes their varied subjects—ranging from hunting, royal banquets, and other scenes of imperial life to legendary tales, mythic deities, and battles. Among the paintings featured in the book’s vibrant reproductions are works created between the reign of Akbar and the fall of Shah Jehanan—an era considered to be the height of Mughal painting—and illustrations from the celebrated Baharistan manuscript of 1595. A fascinating and gorgeously illustrated study, Paintings from Mughal India will be an invaluable resource for all art scholars and anyone interested in the legacy of the Mughal Empire.
This is the first monograph on the subject to be published in English. It comprises 130 full-colour plates of shaman gods. Supported by two introductory chapters ‘Reflections on Shaman God Paintings and Shamanism’ by Kim Tae-gon, and ‘The Shaman God Paintings as an Icon and Its Artistic Qualities’ by Bak Yong-suk, both distinguished authorities in the study of Korean Shamanism, The Paintings of Korean Shaman Gods offers a very accessible introduction to understanding Korean shamanism and its art. The Paintings of Korean Shaman Gods broad appeal will be welcomed by both specialists and generalists in the fields of Asian Studies, Art History and Cultural and Religious Studies.
Pairs is a student-led journal at the Harvard University Graduate School of Design (GSD) dedicated to conversations about design. Each annual issue is conceptualized by an editorial team that proposes guests and objects to be in dialogue with one another. Pairs is non-thematic, meant instead for provisional thoughts and ideas in progress. Each issue seeks to organize diverse threads and concerns that are perceived to be relevant to our moment. Thus, Pairs creates a space for understanding and a greater degree of exchange, both between the design disciplines and with a larger public.
Pairs 03 features conversations with Thomas Demand, Mindy Seu, Mira Henry and Matthew Au, Alfredo Thiermann, Ila Bêka and Louise Lemoine, Anne Lacaton, Edward Eigen, Katarina Burin, Marrikka Trotter, Christopher C. M. Lee, Keller Easterling, and others. Contributors include the editors and Elif Erez, Emily Hsee, Stephanie Lloyd, Andrea Sandell, Kenismael Santiago-Págan, Klelia Siska, and Julia Spackman.
As made abundantly clear in the classified documents recently made public by WikiLeaks, Pakistan is the keystone in the international fight against terrorism today. After the US-led coalition targeted terrorist groups operating in Afghanistan, these groups, including al Qaeda and the Taliban, relocated to the Federally Administered Tribal Area of Pakistan. From its base in this remote, inhospitable region of Pakistan, al Qaeda and its associated cells have planned, prepared, and executed numerous terrorist attacks around the world, in addition to supporting and waging insurgencies in Iraq, Afghanistan, Yemen, Somalia, and elsewhere.
This book is the first detailed analysis of the myriad insurgent groups working in Pakistan. Written by well-known expert on global terrorism Rohan Gunaratna and Khuram Iqbal, a leading scholar in Pakistan, the book examines and reviews the nature, structure, and agendas of the groups, their links to activists in other countries, such as India and Iran, and the difficulties of defeating terrorism in this part of the world. Drawing on extensive field research and interviews with government officials and former terrorists, the authors argue that Pakistan faces grave and continuing pressures from within, and that without steadfast international goodwill and support, the threats of extremism, terrorism, and insurgency will continue to grow.
This timely and necessary book argues that if the international community is to win the battle against ideological extremism and operational terrorism around the world, then Pakistan should be in the vanguard of the fight.
Under the guise of Islamic law, the prophet Muhammad’s Islam, and the Qur’an, states such as Pakistan, Afghanistan, Egypt, Saudi Arabia, and Bangladesh are using blasphemy laws to suppress freedom of speech. Yet the Prophet never tried or executed anyone for blasphemy, nor does the Qur’an authorize the practice. Asserting that blasphemy laws are neither Islamic nor Qur‘anic, Shemeem Burney Abbas traces the evolution of these laws from the Islamic empires that followed the death of the Prophet Muhammad to the present-day Taliban. Her pathfinding study on the shari’a and gender demonstrates that Pakistan’s blasphemy laws are the inventions of a military state that manipulates discourse in the name of Islam to exclude minorities, women, free thinkers, and even children from the rights of citizenship.
Abbas herself was persecuted under Pakistan’s blasphemy laws, so she writes from both personal experience and years of scholarly study. Her analysis exposes the questionable motives behind Pakistan’s blasphemy laws, which were resurrected during General Zia-ul-Haq’s regime of 1977–1988—motives that encompassed gaining geopolitical control of the region, including Afghanistan, in order to weaken the Soviet Union. Abbas argues that these laws created a state-sponsored “infidel” ideology that now affects global security as militant groups such as the Taliban justify violence against all “infidels” who do not subscribe to their interpretation of Islam. She builds a strong case for the suspension of Pakistan’s blasphemy laws and for a return to the Prophet’s peaceful vision of social justice.
Pakistan, which since 9/11 has come to be seen as one of the world’s most dangerous places and has been referred to as “the epicenter of international terrorism,” faces an acute counterterrorism (CT) challenge. The book focuses on violence being perpetrated against the Pakistani state by Islamist groups and how Pakistan can address these challenges, concentrating not only on military aspects but on the often-ignored political, legal, law enforcement, financial, and technological facets of the challenge.
Edited by Moeed Yusuf of the US Institute of Peace, and featuring the contributions and insights of Pakistani policy practitioners and scholars as well as international specialists with deep expertise in the region, the volume explores the current debate surrounding Pakistan’s ability—and incentives—to crack down on Islamist terrorism and provides an in-depth examination of the multiple facets of this existential threat confronting the Pakistani state and people.
The book pays special attention to the non-traditional functions of force that are central to Pakistan’s ability to subdue militancy but which have not received the deserved attention from the Pakistani state nor from western experts. In particular, this path-breaking volume, the first to explore these various facets holistically, focuses on the weakness of political institutions, the role of policing, criminal justice systems, choking financing for militancy, and regulating the use of media and technology by militants. Military force alone, also examined in this volume, will not solve Pakistan’s Islamist challenge. With original insights and attention to detail, the authors provide a roadmap for Western and Pakistani policymakers alike to address the weaknesses in Pakistan’s CT strategy.
In the 1950s Pakistan was generally considered to be a country that would remain among the poorest in the world, but economic development in the decade to follow exceeded all expectations. Gustav Papanek, in the first thorough analysis of this achievement, shows how Pakistan, partly by design and partly by accident, arrived at a successful blend of private initiative and government intervention in the economy. This book, which includes the only comprehensive industrial survey of an underdeveloped country, sheds considerable light on the problems facing nations in similar circumstances.
The Palace of Bones
Allison Eir Jenks Ohio University Press, 2002 Library of Congress PS3560.E5147P35 2002 | Dewey Decimal 811.54
The Palace of Bones by Allison Eir Jenks is an often stark and startling vision of the way we live, the places we inhabit, and the relics we make to comfort ourselves.
Haunted by a quiet, unquenchable longing, Jenks expertly and calmly guides the reader through a vivid dreamscape in this first full-length collection of poems.
The Palace of Bones was selected by final judge and Pulitzer Prize winner Carolyn Kizer. At once dark in its vision and light in its tone, this remarkable book is its author’s self-confident invitation for us to join her in a world she knows intimately and has made almost familiar if not entirely safe.
Palace of Books
Roger Grenier University of Chicago Press, 2014 Library of Congress PQ2613.R4323P3513 2014 | Dewey Decimal 844.914
For decades, French writer, editor, and publisher Roger Grenier has been enticing readers with compact, erudite books that draw elegant connections between the art of living and the work of art. Under Grenier’s wry gaze, clichés crumble, and offbeat anecdotes build to powerful insights.
With Palace of Books, he invites us to explore the domain of literature, its sweeping vistas and hidden recesses. Engaging such fundamental questions as why people feel the need to write, or what is involved in putting one’s self on the page, or how a writer knows she’s written her last sentence, Grenier marshals apposite passages from his favorite writers: Chekhov, Baudelaire, Proust, James, Kafka, Mansfield and many others. Those writers mingle companionably with tales from Grenier’s half-century as an editor and friend to countless legendary figures, including Albert Camus, Romain Gary, Milan Kundera, and Brassai,.
Grenier offers here a series of observations and quotations that feel as spontaneous as good conversation, yet carry the lasting insights of a lifetime of reading and thinking. Palace of Books is rich with pleasures and surprises, the perfect accompaniment to old literary favorites, and the perfect introduction to new ones.
Andrew Carnegie is remembered as one of the world’s great philanthropists. As a boy, he witnessed the benevolence of a businessman who lent his personal book collection to laborer’s apprentices. That early experience inspired Carnegie to create the “Free to the People” Carnegie Library in 1895 in Pittsburgh, Pennsylvania. In 1896, he founded the Carnegie Institute, which included a music hall, art museum, and science museum. Carnegie deeply believed that education and culture could lift up the common man and should not be the sole province of the wealthy. Today, his Pittsburgh cultural institution encompasses a library, music hall, natural history museum, art museum, science center, the Andy Warhol Museum, and the Carnegie International art exhibition.
In Palace of Culture, Robert J. Gangewere presents the first history of a cultural conglomeration that has served millions of people since its inception and inspired the likes of August Wilson, Andy Warhol, and David McCullough. In this fascinating account, Gangewere details the political turmoil, budgetary constraints, and cultural tides that have influenced the caretakers and the collections along the way. He profiles the many benefactors, trustees, directors, and administrators who have stewarded the collections through the years. Gangewere provides individual histories of the library, music hall, museums, and science center, and describes the importance of each as an educational and research facility.
Moreover, Palace of Culture documents the importance of cultural institutions to the citizens of large metropolitan areas. The Carnegie Library and Institute have inspired the creation of similar organizations in the United States and serve as models for museum systems throughout the world.
Bringing rare interviews and meticulous research to the cloaked world of Mexican politics in the mid-twentieth century, Palace Politics provides a captivating look at the authoritarian Mexican state—one of the longest-lived regimes of its kind in recent history—as well as the origins of political instability itself, with revelations that can be applied to a variety of contemporary political situations around the globe. Culling a trove of remarkable firsthand accounts from former Mexican presidents, finance ministers, interior ministers, and other high officials from the 1950s through the 1980s, Jonathan Schlefer describes a world in which elite politics planted the seeds of a mammoth socioeconomic crisis. Palace Politics outlines the process by which political infighting among small rival factions of high officials drove Mexico to precarious situations at all levels of government. Schlefer also demonstrates how, earlier on, elite cooperation among these factions had helped sustain one of the most stable growth economies in Latin America, until all-or-nothing struggles began to tear the Mexican ruling party apart in the 1970s. A vivid, seamlessly narrated history, Palace Politics is essential reading for anyone seeking to better understand not only the nation next door but also the workings of elite politics in general.
Ancient American palaces still captivate those who stand before them. Even in their fallen and ruined condition, the palaces project such power that, according to the editors of this new collection, it must have been deliberately drawn into their formal designs, spatial layouts, and choice of locations. Such messages separated palaces from other elite architecture and reinforced the power and privilege of those residing in them. Indeed, as Christie and Sarro write, “the relation between political power and architecture is a pervasive and intriguing theme in the Americas.” Given the variety of cultures, time periods, and geographical locations examined within, the editors of this book have grouped the articles into four sections. The first looks at palaces in cultures where they have not previously been identified, including the Huaca of Moche Site, the Wari of Peru, and Chaco Canyon in the U.S. Southwest. The second section discusses palaces as “stage sets” that express power, such as those found among the Maya, among the Coast Salish of the Pacific Northwest, and at El Tajín on the Mexican Gulf Coast. The third part of the volume presents cases in which differences in elite residences imply differences in social status, with examples from Pasado de la Amada, the Valley of Oaxaca, Teotihuacan, and the Aztecs. The final section compares architectural strategies between cultures; the models here are Farfán, Peru, under both the Chimú and the Inka, and the separate states of the Maya and the Inka.Such scope, and the quality of the scholarship, make Palaces and Power in the Americas a must-have work on the subject.
Among the most sumptuous buildings of antiquity were royal palaces. As in the Old World, kings and nobles of ancient Mexico and Peru had luxurious administrative quarters in cities, and exquisite pleasure palaces in the countryside. This volume explores the great houses of the ancient New World, from palaces of the Aztecs and Incas, looted by the Spanish conquistadors, to those lost high in the Andes and deep in the jungle. This volume, the first scholarly compendium of elite residences of the high cultures of the New World, presents definitive descriptions and interpretations by leading scholars in the field. Authoritative yet accessible, this extensively illustrated book will serve as an important resource for anthropologists, archaeologists, and historians of art, architecture, and related disciplines.
From one of the leading historians of the Jewish past comes a stunning look into a previously unexamined dimension of Jewish life and culture: the calendar. In the late sixteenth century, Pope Gregory XIII instituted a momentous reform of Western timekeeping, and with it a period of great instability. Jews, like all minority cultures in Europe, had to realign their time-keeping to accord with the new Christian calendar.
Elisheva Carlebach shows that the calendar is a complex and living system, constantly modified as new preoccupations emerge and old priorities fade. Calendars serve to structure time and activities and thus become mirrors of experience. Through this seemingly mundane and all-but-overlooked document, we can reimagine the quotidian world of early modern Jewry, of market days and sacred days, of times to avoid Christian gatherings and times to secure communal treasures. In calendars, we see one of the central paradoxes of Jewish existence: the need to encompass the culture of the other while retaining one’s own unique culture. Carlebach reveals that Jews have always lived in multiple time scales, and demonstrates how their accounting for time, as much as any cultural monument, has shaped Jewish life.
After exploring Judaica collections around the world, Carlebach brings to light these textually rich and beautifully designed repositories of Jewish life. With color illustrations throughout, this is an evocative illumination of how early modern Jewish men and women marked the rhythms and realities of time and filled it with anxieties and achievements.
Two days after Christmas in 1738, a British merchant ship traveling from Rotterdam to Philadelphia grounded in a blizzard on the northern tip of Block Island, twelve miles off the Rhode Island coast. The ship carried emigrants from the Palatinate and its neighboring territories in what is now southwest Germany. The 105 passengers and crew on board—sick, frozen, and starving—were all that remained of the 340 men, women, and children who had left their homeland the previous spring. They now found themselves castaways, on the verge of death, and at the mercy of a community of strangers whose language they did not speak. Shortly after the wreck, rumors began to circulate that the passengers had been mistreated by the ship’s crew and by some of the islanders. The stories persisted, transforming over time as stories do and, in less than a hundred years, two terrifying versions of the event had emerged. In one account, the crew murdered the captain, extorted money from the passengers by prolonging the voyage and withholding food, then abandoned ship. In the other, the islanders lured the ship ashore with a false signal light, then murdered and robbed all on board. Some claimed the ship was set ablaze to hide evidence of these crimes, their stories fueled by reports of a fiery ghost ship first seen drifting in Block Island Sound on the one-year anniversary of the wreck. These tales became known as the legend of the Palatine, the name given to the ship in later years, when its original name had been long forgotten. The flaming apparition was nicknamed the Palatine Light. The eerie phenomenon has been witnessed by hundreds of people over the centuries, and numerous scientific theories have been offered as to its origin. Its continued reappearances, along with the attention of some of nineteenth-century America’s most notable writers—among them Richard Henry Dana Sr., John Greenleaf Whittier, Edward Everett Hale, and Thomas Wentworth Higginson—has helped keep the legend alive. This despite evidence that the vessel, whose actual name was the Princess Augusta, was never abandoned, lured ashore, or destroyed by fire. So how did the rumors begin? What really happened to the Princess Augusta and the passengers she carried on her final, fatal voyage? Through years of painstaking research, Jill Farinelli reconstructs the origins of one of New England’s most chilling maritime mysteries.