Daghestan is home to more than 30 distinct peoples. Each has their own language yet they share a surprisingly homogeneous culture that has both withstood and absorbed centuries of external influences. A fascinating account of change and adaptation in the villages of this area.
From Captain Cook's voyages to Kevin Costner's 1994 film, Rapanui has captured the interest and imagination of many people. Most accounts of Rapanui (as the people of Easter Island call themselves and their land) describe a barren, empty landscape. This book places people prominently in that landscape. Grant McCall has spent more than two decades studying Rapanui and in this revised second edition he presents the details of how Easter Island came to be what it is today. Rapanui is the absorbing story of the survival of an ingenious population of scarcely 3,000 people who cling to the rocky home they love. The first part of the book offers the reader a concise outline of the latest discoveries in the prehistory and history of Rapanui. Later chapters on contemporary life flow around the familiar concepts of family and group, belief, earning a living, relations with one's kin and with strangers. The final chapter describes the most recent changes and concludes with ideas about what the next millennium might bring to the people of the world's most remote island.
The legacy of ancient Greece and Rome has been imitated, resisted, misunderstood, and reworked by every culture that followed. In this volume, some five hundred articles by a wide range of scholars investigate the afterlife of this rich heritage in the fields of literature, philosophy, art, architecture, history, politics, religion, and science.
Traces the craft of pottery making among the Catawba Indians of North Carolina from the late 18th century to the present When Europeans encountered them, the Catawba Indians were living along the river and throughout the valley that carries their name near the present North Carolina-South Carolina border. Archaeologists later collected and identified categories of pottery types belonging to the historic Catawba and extrapolated an association with their protohistoric and prehistoric predecessors. In this volume, Thomas Blumer traces the construction techniques of those documented ceramics to the lineage of their probable present-day master potters or, in other words, he traces the Catawba pottery traditions. By mining data from archives and the oral traditions of contemporary potters, Blumer reconstructs sales circuits regularly traveled by Catawba peddlers and thereby illuminates unresolved questions regarding trade routes in the protohistoric period. In addition, the author details particular techniques of the representative potters—factors such as clay selection, tool use, decoration, and firing techniques—which influence their styles.
WINNER OF THE 2020 PULITZER PRIZE FOR POETRY Finalist for the 2019 National Book Award "100 Notable Books of the Year," The New York Times Book Review One Book, One Philadelphia Citywide Reading Program Selection, 2021 "By some literary magic—no, it's precision, and honesty—Brown manages to bestow upon even the most public of subjects the most intimate and personal stakes."—Craig Morgan Teicher, “'I Reject Walls': A 2019 Poetry Preview” for NPR “A relentless dismantling of identity, a difficult jewel of a poem.“—Rita Dove, in her introduction to Jericho Brown’s “Dark” (featured in the New York Times Magazine in January 2019) “Winner of a Whiting Award and a Guggenheim Fellowship, Brown's hard-won lyricism finds fire (and idyll) in the intersection of politics and love for queer Black men.”—O, The Oprah Magazine Named a Lit Hub “Most Anticipated Book of 2019” One of Buzzfeed’s “66 Books Coming in 2019 You’ll Want to Keep Your Eyes On” The Rumpus poetry pick for “What to Read When 2019 is Just Around the Corner” One of BookRiot’s “50 Must-Read Poetry Collections of 2019” Jericho Brown’s daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex—a combination of the sonnet, the ghazal, and the blues—is testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.
Drawing on a wide diversity of sources, this volume constitutes an additional layer to the phenomenon of trauma by exemplifying its experience within the context of the church, specifically the worldwide Anglican Communion, a family of churches rooted in the English appropriation of the Reformation. As shown here, a wide variety of analytic techniques can be deployed to examine trauma in the context of the church. At an uncertain moment characterized by institutional breakup and decline in several Anglican churches, this volume addresses an urgent need in the literature of church history as constituencies both within the church and without come to terms with ongoing and wide-ranging experiences of trauma. The variety of traumas and the responses, official and otherwise, documented in this collection reflect the wide-ranging testimony of the contributors. Shedding light for the first time on significant traumatic episodes, these narratives examine a difficult and seemingly inexhaustible topic.
A new interdisciplinary interest has risen to study interconnections between oral tradition and book culture. In addition to the use and dissemination of printed books, newspapers etc., book culture denotes manuscript media and the circulation of written documents of oral tradition in and through the archive, into published collections. Book culture also intertwines the process of framing and defining oral genres with literary interests and ideologies. The present volume is highly relevant to anyone interested in oral cultures and their relationship to the culture of writing and publishing. The questions discussed include the following: How have printing and book publishing set terms for oral tradition scholarship? How have the practices of reading affected the circulation of oral traditions? Which books and publishing projects have played a key role in this and how? How have the written representations of oral traditions, as well as the roles of editors and publishers, introduced authorship to materials customarily regarded as anonymous and collective?
“We could have been called a lot of things: brazen vandals, scared kids, threats to social order, self-obsessed egomaniacs, marginalized youth, outsider artists, trend setters, and thrill seekers. But, to me, we were just regular kids growing up hard in America and making the city our own. Being ‘writers’ gave us something to live for and ‘going all city’ gave us something to strive for; and for some of my friends it was something to die for.” In the age of commissioned wall murals and trendy street art, it’s easy to forget graffiti’s complicated and often violent past in the United States. Though graffiti has become one of the most influential art forms of the twenty-first century, cities across the United States waged a war against it from the late 1970s to the early 2000s, complete with brutal police task forces. Who were the vilified taggers they targeted? Teenagers, usually, from low-income neighborhoods with little to their names except a few spray cans and a desperate need to be seen—to mark their presence on city walls and buildings even as their cities turned a blind eye to them. Going All City is the mesmerizing and painful story of these young graffiti writers, told by one of their own. Prolific LA writer Stefano Bloch came of age in the late 1990s amid constant violence, poverty, and vulnerability. He recounts vicious interactions with police; debating whether to take friends with gunshot wounds to the hospital; coping with his mother’s heroin addiction; instability and homelessness; and his dread that his stepfather would get out of jail and tip his unstable life into full-blown chaos. But he also recalls moments of peace and exhilaration: marking a fresh tag; the thrill of running with his crew at night; exploring the secret landscape of LA; the dream and success of going all city. Bloch holds nothing back in this fierce, poignant memoir. Going All City is an unflinching portrait of a deeply maligned subculture and an unforgettable account of what writing on city walls means to the most vulnerable people living within them.
With intelligence and clarity of observation, the author of The Death and Life of Great American Cities addresses the moral values that underpin working life. In Systems of Survival, Jane Jacobs identifies two distinct moral syndromes—one governing commerce, the other, politics—and explores what happens when these two syndromes collide. She looks at business fraud and criminal enterprise, government’s overextended subsidies to agriculture, and transit police who abuse the system the are supposed to enforce, and asks us to consider instances in which snobbery is a virtue and industry a vice. In this work of profound insight and elegance, Jacobs gives us a new way of seeing all our public transactions and encourages us towards the best use of our natural inclinations.