The publication of Murdock’s Ethnographic Atlas in 1967 marked the first time that descriptive information on the peoples of the world—primitive, historical, and contemporary—had been systematically organized for the purposes of comparative research. In this volume, Murdock has completely revised this work, selecting 563 societies that are most fully and accurately described in ethnographic literature. The identification of each society gives its geographical coordinates and date, its identifying number in the Ethnographic Atlas, and an indication of whether it is included in the Human Relations Area Files or the Standard Cross-Cultural Sample. In addition, bibliographical references are offered for each society.
The information and suggested research techniques will be of value to comparativists in anthropology, history, political science, psychology and sociology. Most importantly, it offers a simple method fro choosing a valid sample of the world’s known societies for cross-cultural research.
Despite the growing interest in atomic culture and history, the body of relevant scholarship is relatively sparse. Atomic Culture opens new doors into the field by providing a substantive, engaging, and historically based consideration of the topic that will appeal to students and scholars of the Atomic Age as well as general readers.
Contributors include Michael A. Amundson, Mick Broderick, Peter Goin, John Hunner, Ferenc M. Szasz, A. Costandina Titus, Peter C. van Wyck, and Scott C. Zeman.
In villages and towns across Spain and its former New World colonies, local performers stage mock battles between Spanish Christians and Moors or Aztecs that range from brief sword dances to massive street theatre lasting several days. The festival tradition officially celebrates the triumph of Spanish Catholicism over its enemies, yet this does not explain its persistence for more than five hundred years nor its widespread diffusion.
In this insightful book, Max Harris seeks to understand Mexicans' "puzzling and enduring passion" for festivals of moros y cristianos. He begins by tracing the performances' roots in medieval Spain and showing how they came to be superimposed on the mock battles that had been a part of pre-contact Aztec calendar rituals. Then using James Scott's distinction between "public" and "hidden transcripts," he reveals how, in the hands of folk and indigenous performers, these spectacles of conquest became prophecies of the eventual reconquest of Mexico by the defeated Aztec peoples. Even today, as lively descriptions of current festivals make plain, they remain a remarkably sophisticated vehicle for the communal expression of dissent.
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