In the 1850s, early Euro-American settlers established two remote outposts on the slopes of the eastern Sierra Nevada, both important way stations on the central emigrant trail. The Carson Valley settlement was located on the western edge of the Utah Territory, while the Honey Lake Valley hamlet, 120 miles north, fell within California’s boundaries but was separated from the rest of the state by the formidable mountain range. Although these were some of the first white communities established in the region, both areas had long been inhabited by Indigenous Americans. Carson Valley had been part of Washoe Indian territory, and Honey Lake Valley was a section of Northern Paiute land.
Michael Makley explores the complexities of this turbulent era, when the pioneers’ actions set the stage for both valleys to become part of national incorporation. With deft writing and meticulously researched portrayals of the individuals involved, including the Washoe and Northern Paiute peoples, Imposing Order Without Law focuses on the haphazard evolution of “frontier justice” in these remote outposts. White settlers often brought with them their own ideas of civil order. Makley’s work contextualizes the extralegal acts undertaken by the settlers to enforce edicts in their attempt to establish American communities.
Makley’s book reveals the use and impact of group violence, both within the settlements and within the Indigenous peoples’ world, where it transformed their lives.
Foreword by William A. Douglass Translated by Lisa Corcostegui and Linda White.Improvisational Poetry from the Basque Country introduces the Basque bertsolari to the English-speaking world and provides an understanding of an interesting cultural phenomenon—the artist in Basque society who is capable of improvising verse on any subject spontaneously and setting it to music. The tradition is at least several centuries old and runs the gamut from amateurish efforts to periodic national championship competitions. These competitions draw thousands of listeners and pack theaters while many other thousands tune their radios to the broadcasts of the performances. Aulestia takes a scholarly and in-depth look at the art of the bertsolari. In a fascinating text, the author examines the history of a tradition that is truly unique and completely Basque. He introduces and analyzes the performing styles of great bertsolariak, including Xabier Amuriza and Jon Azpillaga. From the bertsolari’s roots in the old Basque Country to the social phenomenon it is today, Aulestia’s look at the improvisational oral literature of the Basques is an essential addition to their written history.
The Basques of Europe are legendary for the curtain of privacy they have always drawn around their world, shielding it from visitors from the outside. As a result, accounts of the inner workings of Basque village life are almost nonexistent. In this unique book, author Robert Laxalt has managed to penetrate the deep reserve of Basque village folk. Shepherds, troubadours, merchants, and smugglers, caught up in the panorama of daily life, parade before the reader. They are portrayed against a backdrop of green rugged mountains and stone buildings, typical of the Basque provinces in France and Spain. Laxalt, an American born of Basque parents, unveils the Basque character with warmth, wry humor, and above all, honesty.
Las Vegas, says William Fox, is a pay-as-you-play paradise that succeeds in satisfying our fantasies of wealth and the excesses of pleasure and consumption that go with it. In this context, Fox examines how Las Vegas’s culture of spectacle has obscured the boundaries between high art and entertainment extravaganza, nature and fantasy, for-profit and nonprofit enterprises. His purview ranges from casino art galleries—including Steve Wynn’s private collection and a branch of the famed Guggenheim Museum—to the underfunded Las Vegas Art Museum; from spectacular casino animal collections like those of magicians Siegfried and Roy and Mandalay Bay’s Shark Reef exhibit to the city’s lack of support for a viable public zoo; from the environmental and psychological impact of lavish water displays in the arid desert to the artistic ambiguities intrinsic to Las Vegas’s floating world of showgirls, lapdancers, and ballet divas. That Las Vegas represents one of the world’s most opulent displays of private material wealth in all its forms, while providing miserly funding for local public amenities like museums and zoos, is no accident, Fox maintains. Nor is it unintentional that the city’s most important collections of art and exotic fauna are presented in the context of casino entertainment, part of the feast of sensation and excitement that seduces millions of visitors each year. Instead, this phenomenon shows how our insatiable modern appetite for extravagance and spectacle has diminished the power of unembellished nature and the arts to teach and inspire us, and demonstrates the way our society privileges private benefit over public good. Given that Las Vegas has been a harbinger of national cultural trends, Fox’s commentary offers prescient insight into the increasing commercialization of nature and culture across America.
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