Originally published in 1933, this book examines the material culture of various 'primitive' peoples, not only as evidence of migration but also as a window onto that culture's beliefs and customs. Sayce, using a variety of examples from all over the world, details the way in which objects can accrue different meanings through their lifetimes. This book will be of value to anthropologists, folklorists, and anyone with an interest in the evolution of material culture.
Anyone eager to master survival skills for outdoor vacations, or simply to find a fun new family activity for a Saturday afternoon, will be educated and inspired by the practical advice presented here by archaeologists, anthropologists, primitive practitioners, craftsmen, and artisans. These experts help modern readers rediscover the skills that have served humanity for millennia: fire-making, camp cooking, basket weaving, pottery making, animal tracking, and much more. You can even learn how to turn seashells into arrowheads or make glue from yucca plants. Plus, there’s intriguing information on the benefits of a hunter-gatherer diet. More than just a how-to, this handbook provides inspiration to live life to the fullest.
This early work by Franz Boas was originally published in 1927 and we are now republishing it with a brand new introductory biography. 'Primitive Art' is an attempt to give an analytical description of the fundamental traits of primitive art. Franz Boas was born on July 9th 1958, in Minden, Germany. Boas enrolled at the University at Kiel as an undergraduate in Physics. He completed his degree with a dissertation on the optical properties of water, before continuing his studies and receiving his doctorate in 1881. He became a professor of Anthropology at Columbia University in 1899 and founded the first Ph.D program in anthropology in America. He was also a leading figure in the creation of the American Anthropological Association
In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of "primitive art," bringing about a second "death." Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects chosen to exemplify it) must be understood as a product of discourses of progress—from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market. In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia—a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished)—to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development. Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies.
