Archaeologists are continually faced with a pervasive problem: How can cultures, and the interactions among cultures, be differentiated in the archaeological record? This issue is especially difficult in peripheral areas, such as El Salvador, Honduras, and southern Guatemala in the New World. Encompassing zones that are clearly Mayan in language and culture, especially during the Classic period, this area also includes zones that seem to be non-Mayan. The Southeast Maya Periphery examines both aspects of this territory. For the Maya, emphasis is on two sites: Quirigua, Guatemala, and Copan, Honduras. For the non-Maya zone, information is presented on a variety of sites and subregions—the Lower Motagua Valley in Guatemala; the Naco, Sula, and Comayagua valleys and the site of Playa de los Muertos in Honduras; and the Zapotitan Valley and the sites of Cihuatan and Santa Leticia in El Salvador.

Spanning over two thousand years of prehistory, from the Middle Preclassic through the Classic and the poorly understood Postclassic, the essays in this volume address such topics as epigraphy and iconography, architecture, site planning, settlement patterns, and ceramics and include basic information on chronology. Copan and Quirigua are treated both individually and in comparative perspective.

This significant study was the first to attempt to deal with the Periphery as a coherent unit. Unique in its comparative presentation of Copan and Quirigua and in the breadth of information on non-Maya sites in the area, The Southeast Maya Periphery consists largely of previously unpublished data. Offering a variety of approaches to both old and new problems, this volume attempts, among other things, to reassess the relationships between Copan and Quirigua and between Highland and Lowland ceramic traditions, to analyze ceramics by neutron activation, and to define the nature of the apparently non-Mayan cultures in the region. This book will be of major interest not only to Mayanists and Mesoamerican archaeologists but also to others interested in the processes of ethnic group boundary formation and maintenance.

We think of the Hebrew Bible as the Book--and yet it was produced by a largely nonliterate culture in which writing, editing, copying, interpretation, and public reading were the work of a professional elite. The scribes of ancient Israel are indeed the main figures behind the Hebrew Bible, and in this book Karel van der Toorn tells their story for the first time. His book considers the Bible in very specific historical terms, as the output of the scribal workshop of the Second Temple active in the period 500-200 BCE. Drawing comparisons with the scribal practices of ancient Egypt and Mesopotamia, van der Toorn clearly details the methods, the assumptions, and the material means of production that gave rise to biblical texts; then he brings his observations to bear on two important texts, Deuteronomy and Jeremiah.

Traditionally seen as the copycats of antiquity, the scribes emerge here as the literate elite who held the key to the production as well as the transmission of texts. Van der Toorn's account of scribal culture opens a new perspective on the origins of the Hebrew Bible, revealing how the individual books of the Bible and the authors associated with them were products of the social and intellectual world of the scribes. By taking us inside that world, this book yields a new and arresting appreciation of the Hebrew Scriptures.

Seachanges brings together original essays examining human and cultural mobility from a musical perspective. Musicians have always been migratory frontrunners, and musical encounters have always generated nodes of cultural complexity. But hearing past musicking that took place in diaspora and foreign lands requires new methodologies designed to center unsettled lives and ephemeral practices in history.

Employing interpretive strategies from musicology, ethnomusicology, historical performance practice, sociolinguistics, and cultural history, the contributors intentionally complicate national and regional accounts of music from 1550 to 1800. Repertorial subjects include Spanish guitar music in Italy, Italian songs in Bohemia, Turkish songs in France, Jewish rituals on Corfu, Jesuit hymns in the Greek Archipelago, and Ottoman court music; further chapters recover the experiences of Indigenous musicians in colonial Latin America, the diaspora of Neapolitan singers, fictional cartographies of Baroque opera, and the careers of enslaved Black musicians in Venice and pre-revolutionary Haiti. They promote a new theoretical vocabulary that coalesces around orality, voice, performers, and performance as matters to foreground in mobility studies.

Seachanges illustrates how musical microhistories can address mobility at the macro level of Mediterranean and Atlantic Studies while respecting the tempo of individual human lives and musical timeframes.