In Anthropomorphic Imagery in the Mesoamerican Highlands, Latin American, North American, and European researchers explore the meanings and functions of two- and three-dimensional human representations in the Precolumbian communities of the Mexican highlands. Reading these anthropomorphic representations from an ontological perspective, the contributors demonstrate the rich potential of anthropomorphic imagery to elucidate personhood, conceptions of the body, and the relationship of human beings to other entities, nature, and the cosmos.
 
Using case studies covering a broad span of highlands prehistory—Classic Teotihuacan divine iconography, ceramic figures in Late Formative West Mexico, Epiclassic Puebla-Tlaxcala costumed figurines, earth sculptures in Prehispanic Oaxaca, Early Postclassic Tula symbolic burials, Late Postclassic representations of Aztec Kings, and more—contributors examine both Mesoamerican representations of the body in changing social, political, and economic conditions and the multivalent emic meanings of these representations. They explore the technology of artifact production, the body’s place in social structures and rituals, the language of the body as expressed in postures and gestures, hybrid and transformative combinations of human and animal bodies, bodily representations of social categories, body modification, and the significance of portable and fixed representations.
 
Anthropomorphic Imagery in the Mesoamerican Highlands provides a wide range of insights into Mesoamerican concepts of personhood and identity, the constitution of the human body, and human relationships with gods and ancestors. It will be of great value to students and scholars of the archaeology and art history of Mexico.
 
Contributors: Claire Billard, Danièle Dehouve, Cynthia Kristan-Graham, Melissa Logan, Sylvie Peperstraete, Patricia Plunket, Mari Carmen Serra Puche, Juliette Testard, Andrew Turner, Gabriela Uruñuela, Marcus Winter

"I am Felipe Garcia Villamil" begins Drumming for the Gods, the life history of the Afro-Cuban artist whose music has survived both political and personal upheaval. "Balogun for thirty years. Oluana, of Matanzas, Cuba, for about forty years. Omoana for almost forty-five years. OluIyesa [he knows the secrets of the Iyesa drums]." A practitioner of sacred drumming for almost his entire life, Felipe practiced his trade in Cuba both before and after the Revolution and brought it with him to New York, where he continues to play for the gods.

This book focuses on three periods of Felipe's life, each marked by changes in his personal life and by important historical events. The first period covers his formative years during which he received his initial training. Through Felipe's story, we explore the legacy of slavery in Cuba, the nature of Afro-Cuban religions and their musical traditions, and the history of bata drums. The second period covers the critical years of the Cuban Revolution. Here we see the effect of social turmoil both n music and religious practice (santero, palero, and abakua). The third period covers Felipe's life in New York as a refugee/immigrant, and the role of music in rebuilding his identity. Felipe's story illuminates his cultural practices and beliefs as well as the ways in which an individual musician selects and  modifies the elements of his cultural heritage to create a voice that is personal and unique. Felipe not only lives through history but also makes history, shaping an identity that cannot be described as "Cuban immigrant," "Afro-Cuban," "religious drummer," or "santeria initiate," but is composed of all of them.

Through Felipe's experiences, Maria Teresa Velez reveals the interaction between social, political, economic, and cultural forces and an individual's own actions. The professionalization of musicians in Cuba following the Revolution and the plight of Afro-Cuban immigrants in New York are seen as large historical and social problems to which Felipe must personally respond. A noted ethnomusicologist, Velez provides the most insightful and comprehensive English-language study of an individual Cuban religious drummer available.

Drumming for the Gods is a must-read for those interested in ethnomusicology, Caribbean studies, and Afro-Cuban religions and culture.

In The Eating of the Gods the distinguished Polish critic Jan Kott reexamines Greek tragedy from the modern perspective. As in his earlier acclaimed Shakespeare Our Contemporary, Kott provides startling insights and intuitive leaps which link our world to that of the ancient Greeks. The title refers to the Bacchae of Euripides, that tragedy of lust, revenge, murder, and "the joy of eating raw flesh" which Kott finds paradigmatic in its violence and bloodshed.

Two of the world’s leading scholars of the Aztec language and culture have translated Sahagún’s monumental and encyclopedic study of native life in Mexico at the time of the Spanish Conquest. This immense undertaking is the first complete translation into any language of Sahagún’s Nahuatl text, and represents one of the most distinguished contributions in the fields of anthropology, ethnography, and linguistics.

Written between 1540 and 1585, the Florentine Codex (so named because the manuscript has been part of the Laurentian Library’s collections since at least 1791) is the most authoritative statement we have of the Aztecs’ lifeways and traditions—a rich and intimate yet panoramic view of a doomed people.

The Florentine Codex is divided by subject area into twelve books and includes over 2,000 illustrations drawn by Nahua artists in the sixteenth century.

Book One describes in detail the gods of the Aztec people, including Uitzilopochtli, Tlatoc, and Quetzalcoatl. This colorful and clear translation brings to life characteristics of each god, describing such items as clothing or adornment worn by individual gods, as well as specific personality traits.

Two of the world’s leading scholars of the Aztec language and culture have translated Sahagún’s monumental and encyclopedic study of native life in Mexico at the time of the Spanish Conquest. This immense undertaking is the first complete translation into any language of Sahagún’s Nahuatl text, and represents one of the most distinguished contributions in the fields of anthropology, ethnography, and linguistics.

Written between 1540 and 1585, the Florentine Codex (so named because the manuscript has been part of the Laurentian Library’s collections since at least 1791) is the most authoritative statement we have of the Aztecs’ lifeways and traditions—a rich and intimate yet panoramic view of a doomed people.

The Florentine Codex is divided by subject area into twelve books and includes over 2,000 illustrations drawn by Nahua artists in the sixteenth century.

Book Three describes in detail the excitingand sometimes bloody—origin stories of Uitzilopochtli, Titlacauan, and Quetzalcoatl. The appendix discusses other significant religious aspects of the Aztec religion, such as how boys are raised to be high priests and what happens to Aztecs after death.

Among many art, music and literature lovers, particularly devotees of modernism, the expatriate community in France during the Jazz Age represents a remarkable convergence of genius in one place and period—one of the most glorious in history. Drawn by the presence of such avant-garde figures as Joyce and Picasso, artists and writers fled the Prohibition in the United States and revolution in Russia to head for the free-wheeling scene in Paris, where they made contact with rivals, collaborators, and a sophisticated audience of collectors and patrons. The outpouring of boundary-pushing novels, paintings, ballets, music, and design was so profuse that it belies the brevity of the era (1918–1929). Drawing on unpublished albums, drawings, paintings, and manuscripts, Charles A. Riley offers a fresh examination of both canonic and overlooked writers and artists and their works, by revealing them in conversation with one another. He illuminates social interconnections and artistic collaborations among the most famous—Fitzgerald, Hemingway, Gershwin, Diaghilev, and Picasso—and goes a step further, setting their work alongside that of African Americans such as Sidney Bechet, Archibald Motley Jr., and Langston Hughes, and women such as Gertrude Stein and Nancy Cunard. Riley’s biographical and interpretive celebration of the many masterpieces of this remarkable group shows how the creative community of postwar Paris supported astounding experiments in content and form that still resonate today.

What do we think about when we think about Greek food? For many, it is the meze and the traditional plates of a Greek island taverna at the height of summer. In Gifts of the Gods, Andrew and Rachel Dalby take us into and beyond the taverna in our minds to offer us a unique and comprehensive history of the foods of Greece.

Greek food is brimming with thousands of years of history, lore, and culture. The country has one of the most varied landscapes of Europe, where steep mountains, low-lying plains, rocky islands, and crystal-blue seas jostle one another and produce food and wine of immense quality and distinctive taste. The book discusses how the land was settled, what was grown in different regions, and how certain fruits, herbs, and vegetables became a part of local cuisines. Moving through history—from classical to modern—the book explores the country’s regional food identities as well as the export of Greek food to communities all over the world. The book culminates with a look at one of the most distinctive features of Greece’s food tradition—the country’s world renown hospitality. Illustrated throughout and featuring traditional recipes that blend historical and modern flavors, Gifts of the Gods is a mouth-watering account of a rich and ancient cuisine.

The book begins with Lincoln’s “Theses on Method” and ends with “The (Un)discipline of Religious Studies,” in which he unsparingly considers the failings of uncritical and nonhistorical approaches to the study of religions. In between, Lincoln presents new examinations of problems in ancient religions and relates these cases to larger comparative themes. While bringing to light important features of the formation of pantheons and the constructions of demons, chaos, and the dead, Lincoln demonstrates that historians of religions should take religious things—inspired scriptures, sacred centers, salvific rites, communities graced by divine favor—as the theories of interested humans that shape perception, community, and experiences. As he shows, it is for their terrestrial influence, and not their sacred origins, that religious phenomena merit consideration by the historian.

 

Tackling many questions central to religious study, Gods and Demons, Priests and Scholars will be a touchstone for the history of religions in the twenty-first century.

 Zeus, Medusa, Hercules, Aphrodite. Did you know that these and other dynamic deities, heroes, and monsters of Greek and Roman mythology live on in the names of trees and flowers? Some grow in your local woodlands or right in your own backyard garden.

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When Nathan Wachtel, the distinguished historical anthropologist, returned to the village of Chipaya, the site of his extensive fieldwork in the Bolivian Andes, he learned a group of Uru Indians was being incarcerated and tortured for no apparent reason. Even more strangely, no one—not even his closest informant and friend—would speak about it.

Wachtel discovered that a series of recent deaths and misfortunes in Chipaya had been attributed to the evil powers of the Urus, a group usually regarded with suspicion by the other ethnic groups. Those incarcerated were believed to be the chief sorcerers and vampires whose paganistic practices had brought death to Chipaya by upsetting the social order. Wachtel's investigation, told in Gods and Vampires: Back to Chipaya, reveals much about relations between the Urus and the region's dominant ethnic groups and confronts some of the most trenchant issues in contemporary anthropology. His analysis shows that the Urus had become victims of the same set of ideals the Spanish had used, centuries before, to establish their hegemony in the region.

Presented as a personal detective story, Gods and Vampires is Wachtel's latest work in a series studying the ongoing impact of the Spanish conquest on the Andean consciousness and social system. Its insight into Bolivian society and the legacy of hegemony confronts some of the most trenchant issues in contemporary anthropologyand will be of great interest to scholars of anthropology, Latin American studies, and Native American studies.

Following in the footsteps of the storytellers of his native India, R. K. Narayan has produced his own versions of tales taken from the Ramayana and the Mahabarata. Carefully selecting those stories which include the strongest characters, and omitting the theological or social commentary that would have drawn out the telling, Narayan informs these fascinating myths with his urbane humor and graceful style.

"Mr. Narayan gives vitality and an original viewpoint to the most ancient of legends, lacing them with his own blend of satire, pertinent explanation and thoughtful commentary."—Santha Rama Rau, New York Times

"Narayan's narrative style is swift, firm, graceful, and lucid . . . thoroughly knowledgeable, skillful, entertaining. One could hardly hope for more."—Rosanne Klass, Times Literary Supplement

Gods in the Bazaar is a fascinating account of the printed images known in India as “calendar art” or “bazaar art,” the color-saturated, mass-produced pictures often used on calendars and in advertisements, featuring deities and other religious themes as well as nationalist leaders, alluring women, movie stars, chubby babies, and landscapes. Calendar art appears in all manner of contexts in India: in chic elite living rooms, middle-class kitchens, urban slums, village huts; hung on walls, stuck on scooters and computers, propped up on machines, affixed to dashboards, tucked into wallets and lockets. In this beautifully illustrated book, Kajri Jain examines the power that calendar art wields in Indian mass culture, arguing that its meanings derive as much from the production and circulation of the images as from their visual features.

Jain draws on interviews with artists, printers, publishers, and consumers as well as analyses of the prints themselves to trace the economies—of art, commerce, religion, and desire—within which calendar images and ideas about them are formulated. For Jain, an analysis of the bazaar, or vernacular commercial arena, is crucial to understanding not only the calendar art that circulates within the bazaar but also India’s postcolonial modernity and the ways that its mass culture has developed in close connection with a religiously inflected nationalism. The bazaar is characterized by the coexistence of seemingly incompatible elements: bourgeois-liberal and neoliberal modernism on the one hand, and vernacular discourses and practices on the other. Jain argues that from the colonial era to the present, capitalist expansion has depended on the maintenance of these multiple coexisting realms: the sacred, the commercial, and the artistic; the official and the vernacular.

Racist paganism is a thriving but understudied element of the American religious and cultural landscape. Gods of the Blood is the first in-depth survey of the people, ideologies, and practices that make up this fragmented yet increasingly radical and militant milieu. Over a five-year period during the 1990s Mattias Gardell observed and participated in pagan ceremonies and interviewed pagan activists across the United States. His unprecedented entree into this previously obscure realm is the basis for this firsthand account of the proliferating web of organizations and belief systems combining pre-Christian pagan mythologies with Aryan separatism. Gardell outlines the historical development of the different strands of racist paganism—including Wotanism, Odinism and Darkside Asatrú—and situates them on the spectrum of pagan belief ranging from Wicca and goddess worship to Satanism.

Gods of the Blood details the trends that have converged to fuel militant paganism in the United States: anti-government sentiments inflamed by such events as Ruby Ridge and Waco, the rise of the white power music industry (including whitenoise, dark ambient, and hatecore), the extraordinary reach of modern communications technologies, and feelings of economic and cultural marginalization in the face of globalization and increasing racial and ethnic diversity of the American population. Gardell elucidates how racist pagan beliefs are formed out of various combinations of conspiracy theories, anti-Semitism, warrior ideology, populism, beliefs in racial separatism, Klandom, skinhead culture, and tenets of national socialism. He shows how these convictions are further animated by an array of thought selectively derived from thinkers including Nietzche, historian Oswald Spengler, Carl Jung, and racist mystics. Scrupulously attentive to the complexities of racist paganism as it is lived and practiced, Gods of the Blood is a fascinating, disturbing, and important portrait of the virulent undercurrents of certain kinds of violence in America today.

In the Presence of Gods and Spirits brings to life the early nineteenth century Japanese religious leader and scholar Hirata Atsutane, whose fear of Russian incursion onto Japan’s soil led him to redefine what it means to be Japanese. Atsutane advocated the study of the Way of the Gods, commonly known as Shinto, to explain what happens to the soul after death and to cultivate a  Japanese identity centered on gods, spirits, and the emperor. His teachings would later attract thousands of followers and feed the movements that led to the Meiji Restoration. Drawing on the concept of material religion, Walthall demonstrates how Atsutane and his collaborators sought out knowledge of the unseen world and educated others, while seeking to bring themselves closer to the gods and spirits. This work showcases Atsutane and his community’s legacy, which has had a profound influence on Japanese society, religious belief, and culture far beyond his lifetime.

Kenny Fries embarks on a journey of profound self-discovery as a disabled foreigner in Japan, a society historically hostile to difference. As he visits gardens, experiences Noh and butoh, and meets artists and scholars, he also discovers disabled gods, one-eyed samurai, blind chanting priests, and A-bomb survivors. When he is diagnosed as HIV positive, all his assumptions about Japan, the body, and mortality are shaken, and he must find a way to reenter life on new terms.

The definitive biography of this innovative and influential director

James Whale directed some of the most stylish movies of the 1930s, but he was most successful in a genre he virtually invented. Most famously in Frankenstein, but also in The Invisible Man and The Bride of Frankenstein, Whale created a new type of horror film—sophisticated, tragic, and morbidly humorous.

Whale made grim war dramas, light comedy, adventure, mystery, and even a movie version of the musical Show Boat. However, his career faltered and, being openly gay, he found work increasingly hard to get. He quit his film work just ten years after the triumph of Frankenstein, and died as a result of suicide. James Curtis has written the definitive life of James Whale, taking him from poverty in rural England to the squalor of a German prison camp, to the excitement of London’s West End, and ultimately to Hollywood, where he profoundly influenced several generations of filmmakers.

This classic study clearly establishes a fundamental difference in viewpoint between the peoples of ancient Egypt and Mesopotamia. By examining the forms of kingship which evolved in the two countries, Frankfort discovered that beneath resemblances fostered by similar cultural growth and geographical location lay differences based partly upon the natural conditions under which each society developed. The river flood which annually renewed life in the Nile Valley gave Egyptians a cheerful confidence in the permanence of established things and faith in life after death. Their Mesopotamian contemporaries, however, viewed anxiously the harsh, hostile workings of nature.

Frank's superb work, first published in 1948 and now supplemented with a preface by Samuel Noah Kramer, demonstrates how the Egyptian and Mesopotamian attitudes toward nature related to their concept of kingship. In both countries the people regarded the king as their mediator with the gods, but in Mesopotamia the king was only the foremost citizen, while in Egypt the ruler was a divine descendant of the gods and the earthly representative of the God Horus.

Our ancestors, the Mesopotamians, invented writing and with it a new way of looking at the world. In this collection of essays, the French scholar Jean Bottero attempts to go back to the moment which marks the very beginning of history.

To give the reader some sense of how Mesopotamian civilization has been mediated and interpreted in its transmission through time, Bottero begins with an account of Assyriology, the discipline devoted to the ancient culture. This transmission, compounded with countless discoveries, would not have been possible without the surprising decipherment of the cuneiform writing system. Bottero also focuses on divination in the ancient world, contending that certain modes of worship in Mesopotamia, in their application of causality and proof, prefigure the "scientific mind."

There are many holy cities in India, but Mumbai is not usually considered one of them. More popular images of the city capture the world’s collective imagination—as a Bollywood fantasia or a slumland dystopia. Yet for many, if not most, people who live in the city, the neighborhood streets are indeed shared with local gods and guardian spirits. In The Neighborhood of Gods, William Elison examines the link between territory and divinity in India’s most self-consciously modern city. In this densely settled environment, space is scarce, and anxiety about housing is pervasive. Consecrating space—first with impromptu displays and then, eventually, with full-blown temples and official recognition—is one way of staking a claim. But how can a marginalized community make its gods visible, and therefore powerful, in the eyes of others?
 
The Neighborhood of Gods explores this question, bringing an ethnographic lens to a range of visual and spatial practices: from the shrine construction that encroaches on downtown streets, to the “tribal art” practices of an indigenous group facing displacement, to the work of image production at two Bollywood film studios. A pioneering ethnography, this book offers a creative intervention in debates on postcolonial citizenship, urban geography, and visuality in the religions of India.
 

For thousands of years, our world has been shaped by biblical monotheism. But its hallmark—a distinction between one true God and many false gods—was once a new and radical idea. Of God and Gods explores the revolutionary newness of biblical theology against a background of the polytheism that was once so commonplace.
    Jan Assmann, one of the most distinguished scholars of ancient Egypt working today, traces the concept of a true religion back to its earliest beginnings in Egypt and describes how this new idea took shape in the context of the older polytheistic world that it rejected. He offers readers a deepened understanding of Egyptian polytheism and elaborates on his concept of the “Mosaic distinction,” which conceives an exclusive and emphatic Truth that sets religion apart from beliefs shunned as superstition, paganism, or heresy.
    Without a theory of polytheism, Assmann contends, any adequate understanding of monotheism is impossible.

Best Books for General Audiences, selected by the American Association of School Librarians, and Best Books for Special Interests, selected by the Public Library Association

A meditation on history and the imagination that bears witness to acts of genocide and to natural disasters in Ethiopia, Haiti, and Sri Lanka, Of Gods & Strangers interweaves lyrical, arresting accounts of our contemporary world with stories of “Empress Dowager” Tzu Hsi, last empress of China (1861-1908). An urgent reminder that poetry can offer us a social consciousness—“in my locked mouth an urge”—Of Gods & Strangers deftly traces the human dimensions of the “great modern machine,” looking to recover the present and its people through the past’s “faulty memory.”

Mass-produced images have long been produced and used in India by religious and nationalist movements – the emergence of Indian-run chromolithograph presses in the late 1870s initiated a vast outpouring that have come to dominate many of India’s public and domestic spaces.

Drawing on years of archival research, interviews with artists and publishers, and the ethnographic study of their rural consumers, Christopher Pinney traces the intimate connections between the production and consumption of these images and the struggle against colonial rule. The detailed output of individual presses and artists is set against the intensification of the nationalist struggle, the constraints imposed by colonial state censorship, and fifty years of Indian independence. The reader is introduced to artists who trained within colonial art schools, others whose skills reflect their membership of traditional painting castes, and yet others who are self-taught former sign painters.

Photos of the Gods is the first comprehensive history of India’s popular visual culture. Combining anthropology, political and cultural history, and the study of aesthetic systems, and using many intriguing and unfamiliar images, the book shows that the current predicament of India cannot be understood without taking into account this complex, fascinating, and until now virtually unseen, visual history.

When people create new societies, economies, and nations—both now and in the past—they create gods, rituals, and miracles to support them. Even what seem to be some of the most timeless and sacred sites in the world have been shaped, reshaped, and reinterpreted by countless people to produce oases of peace and nature today.

Using miracle tales, votive plaques, diaries, and newspapers, Sarah Thal traces such changes at one of the most popular Japanese pilgrimage sites of the nineteenth and twentieth centuries: the shrine of Konpira on the island of Shikoku. This rich and fascinating history explores how people from all walks of life gave shape to the gods, shrines, and rituals so often attributed to ancient, indigenous Japan. Thal shows how worshippers and priests, rulers and entrepreneurs, repeatedly rebuilt and reinterpreted Konpira to reflect their needs and aspirations in a changing world—and how, in doing so, they helped shape the structures of the modern state, economy, and society in turn.

Rearranging the Landscape of the Gods will be welcomed by all scholars of Japanese history and by students of religion interested in the construction of modernity.

"Fox News Watch" host Eric Burns, who chronicled the social history of alcohol in The Spirits of America turns to tobacco in The Smoke of the Gods. Ranging from ancient times to the present day, The Smoke of the Gods is a lively history of tobacco, especially in the United States. Although tobacco use is controversial in the U.S. today, Burns reminds us that this was not always the case. For centuries tobacco was generally thought to have medicinal and even spiritual value. Most of the signers of the Declaration of Independence were tobacco users or growers, or both. According to Burns, tobacco changed the very course of U.S. history, because its discovery caused the British to support Jamestown, its struggling New World colony. An entertaining and informative look at a subject that makes daily news headlines, The Smoke of the Gods is a history that is, well, quite addictive.

Contributors To Volume 20
Susan Bennett / Jane Barnette / Becky Becker / Lisa Bernd / Evan
Bridenstine / Michael Jaros / Robert I. Lublin / Paulette Marty