During the last third of the twentieth century, white supremacists moved, both literally and in the collective imagination, from midnight rides through Mississippi to broadband-wired cabins in Montana. But while rural Montana may be on the geographical fringe of the country, white supremacist groups were not pushed there, and they are far from "fringe elements" of society, as many Americans would like to believe. Evelyn Schlatter's startling analysis describes how many of the new white supremacist groups in the West have co-opted the region's mythology and environment based on longstanding beliefs about American character and Manifest Destiny to shape an organic, home-grown movement.
Dissatisfied with the urbanized, culturally progressive coasts, disenfranchised by affirmative action and immigration, white supremacists have found new hope in the old ideal of the West as a land of opportunity waiting to be settled by self-reliant traditional families. Some even envision the region as a potential white homeland. Groups such as Aryan Nations, The Order, and Posse Comitatus use controversial issues such as affirmative action, anti-Semitism, immigration, and religion to create sympathy for their extremist views among mainstream whites—while offering a "solution" in the popular conception of the West as a place of freedom, opportunity, and escape from modern society. Aryan Cowboys exposes the exclusionist message of this "American" ideal, while documenting its dangerous appeal.
Contributors
Vincanne Adams
Nancy N. Chen
Stefan Ecks
Kathleen Erwin
Phuoc V. Le
Jennifer Liu
Aihwa Ong
Margaret Sleeboom-Faulkner
Kaushik Sunder Rajan
Wen-Ching Sung
Charis Thompson
Ara Wilson
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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