In a brilliant, original rendition, Monsters of the Gévaudan revisits a spellbinding French tale that has captivated imaginations for over two hundred years, and offers the definitive explanation of the strange events that underlie this timeless story.
In 1764 a peasant girl was killed and partially eaten while tending a flock of sheep. Eventually, over a hundred victims fell prey to a mysterious creature, or creatures, whose cunning and deadly efficiency terrorized the region and mesmerized Europe. The fearsome aggressor quickly took on mythic status, and the beast of the Gévaudan passed into French folklore.
What species was this killer, why did it decapitate so many of its victims, and why did it prefer the flesh of women and children? Why did contemporaries assume that the beast was anything but a wolf, or a pack of wolves, as authorities eventually claimed, and why is the tale so often ignored in histories of the ancien régime? Smith finds the answer to these last two questions in an accident of timing. The beast was bound to be perceived as strange and anomalous because its ravages coincided with the emergence of modernity itself.
Expertly situated within the social, intellectual, cultural, and political currents of French life in the 1760s, Monsters of the Gévaudan will engage a wide range of readers with both its recasting of the beast narrative and its compelling insights into the allure of the monstrous in historical memory.
2022 Art in Service to the Environment Award, Sierra Club Lone Star Chapter
Honorable Mention, 2022 Nonfiction Prize, Writers' League of Texas
Writers explore a city’s relationship with chronic catastrophic flooding.
Shortly after Hurricane Harvey dumped a record 61 inches of rain on Houston in 2017, celebrated writer and Bayou City resident Lacy M. Johnson began collecting flood stories. Although these stories attested to the infinite variety of experience in America’s most diverse city, they also pointed to a consistent question: What does catastrophic flooding reveal about this city, and what does it obscure?
More City than Water brings together essays, conversations, and personal narratives from climate scientists, marine ecologists, housing activists, urban planners, artists, poets, and historians as they reflect on the human geography of a region increasingly defined by flooding. Both a literary and a cartographic anthology, More City than Water features striking maps of Houston’s floodplains, waterways, drainage systems, reservoirs, and inundated neighborhoods. Designed by University of Houston seniors from the Graphic Design program, each map, imaginative and precise, shifts our understanding of the flooding, the public’s relationship to it, and the fraught reality of rebuilding. Evocative and unique, this is an atlas that uncovers the changing nature of living where the waters rise.
More Tree Talk is an insightful and compelling look at the human dimension of the challenges facing forestry. First published in 1981, Tree Talk was widely hailed as the most even-handed and well-written introduction to forestry issues available. More Tree Talk is an entirely revised edition of that classic volume that brings the book up-to-date with the current situation.
Like the original, More Tree Talk features a running narrative punctuated by individual portraits that personalize the issues. It translates political and academic aspects of forestry into human terms, focusing on those whose lives and livelihoods depend on the outcome of the debates currently raging -- old-time woodsmen, loggers, naturalists, restoration workers, timber company executives.
Ray Raphael explores the new forestry practices, theories, and controversies that have emerged in the past decade as he addresses problems of a declining resource base and increasing regulatory policies. He examines the impact of ecological and economic concerns on rural communities, and considers the possibility of large structural changes in the ways in which timber companies operate. Throughout, he emphasizes that without an understanding of the economic and political factors that interfere with good forest management, all the scientific knowledge -- and all the best intentions of on-site workers -- will come to no avail.
In this thoughtful book, Gary Fine explores how Americans attempt to give meaning to the natural world that surrounds them. Although "nature" has often been treated as an unproblematic reality, Fine suggests that the meanings we assign to the natural environment are culturally grounded. In other words, there is no nature separate from culture. He calls this process of cultural construction and interpretation, "naturework." Of course, there is no denying the biological reality of trees, mountains, earthquakes, and hurricanes, but, he argues, they must be interpreted to be made meaningful. Fine supports this claim by examining the fascinating world of mushrooming.
Based on three years of field research with mushroomers at local and national forays, Morel Tales highlights the extensive range of meanings that mushrooms have for mushroomers. Fine details how mushroomers talk about their finds--turning their experiences into "fish stories" (the one that got away), war stories, and treasure tales; how mushroomers routinely joke about dying from or killing others with misidentified mushrooms, and how this dark humor contributes to the sense of community among collectors. He also describes the sometimes friendly, sometimes tense relations between amateur mushroom collectors and professional mycologists. Fine extends his argument to show that the elaboration of cultural meanings found among mushroom collectors is equally applicable to birders, butterfly collectors, rock hounds, and other naturalists.
Benjamin Franklin's invention of the lightning rod is the founding fable of American science, but Franklin was only one of many early Americans fascinated by electricity. As a dramatically new physical experience, electricity amazed those who dared to tame the lightning and set it coursing through their own bodies. Thanks to its technological and medical utility, but also its surprising ability to defy rational experimental mastery, electricity was a powerful experience of enlightenment, at once social, intellectual, and spiritual.
In this compelling book, James Delbourgo moves beyond Franklin to trace the path of electricity through early American culture, exploring how the relationship between human, natural, and divine powers was understood in the eighteenth century. By examining the lives and visions of natural philosophers, spectacular showmen, religious preachers, and medical therapists, he shows how electrical experiences of wonder, terror, and awe were connected to a broad array of cultural concerns that defined the American Enlightenment. The history of lightning rods, electrical demonstrations, electric eels, and medical electricity reveals how early American science, medicine, and technology were shaped by a culture of commercial performance, evangelical religion, and republican politics from mid-century to the early republic.
The first book to situate early American experimental science in the context of a transatlantic public sphere, A Most Amazing Scene of Wonders offers a captivating view of the origins of American science and the cultural meaning of the American Enlightenment. In a story of shocks and sparks from New England to the Caribbean, Delbourgo brilliantly illuminates a revolutionary New World of wonder.
Residents of the Appalachian coalfields share a history and heritage, deep connections to the land, and pride in their own resilience. These same residents are also profoundly divided over the practice of mountaintop mining—that is, the removal and disposal in nearby valleys of soil and rock in order to reach underlying coal seams. Companies and some miners claim that the practice has reduced energy prices, earned income for shareholders, and provided needed jobs. Opponents of mountaintop mining argue that it poisons Appalachia’s waters and devastates entire communities for the sake of short-term gains.
This conflict is emblematic of many other environmental disputes in the United States and around the world, disputes whose intensity derives not only from economic and environmental stakes but also from competing claims to individual and community identity. Looking beyond the slogans and seemingly irreconcilable differences, however, can reveal deeper causes of conflict, such as flawed institutions, politics, and inequality or the strongly held values of parties for whom compromise is difficult to achieve.
Mountaintop Mining in Appalachia focuses on the people of the region, the people who have the most at stake and have been the most active in trying to shift views and practices. By examining the experiences of these stakeholders and their efforts to effect change, Susan F. Hirsch and E. Franklin Dukes introduce key concepts and theories from the field of conflict analysis and resolution. They provide a compelling case study of how stakeholders challenge governance-as-usual, while offering insight into the causes of conflict over other environmental issues.
Moving student writing beyond academic discourse and into larger public spheres is a difficult task, but Christian R. Weisser’s study challenges composition instructors to do just that. This highly accessible book does what no other study has attempted to do: place the most current, cutting-edge theories and pedagogies in rhetoric and composition in their intellectual and historical contexts, while at the same time offering a unique, practical theory and pedagogy of public writing for use both inside and outside of the classroom.
By positing a theory of the public for composition studies, one which envisions the public sphere as a highly contested, historically textured, multilayered, and sometimes contradictory site, Weisser offers a new approach to the roles that compositionists might assume in their attempts to initiate progressive political and social change.
After first providing a historical context that situates composition’s recent interest in public writing, Weisser next examines recent theories in composition studies that consider writing an act of social engagement before outlining a more complex theory of the public based on the work of Jürgen Habermas. The resulting re-envisioning of the public sphere expands current conversations in rhetoric and composition concerning the public.
Weisser concludes with a holistic vision that places greater political and social import on addressing public issues and conversations in the composition classroom and that elucidates the role of the public intellectual as it relates specifically to compositionists in postmodern society.
Embracing a new religion, or leaving one’s faith, usually constitutes a significant milestone in a person’s life. While a number of scholars have examined the reasons why people convert to Islam, few have investigated why people leave the faith and what the consequences are for doing so. Taking a holistic approach to conversion and deconversion, Moving In and Out of Islam explores the experiences of people who have come into the faith along with those who have chosen to leave it—including some individuals who have both moved into and out of Islam over the course of their lives.
Sixteen empirical case studies trace the processes of moving in or out of Islam in Western and Central Europe, the United States, Canada, and the Middle East. Going beyond fixed notions of conversion or apostasy, the contributors focus on the ambiguity, doubts, and nonlinear trajectories of both moving in and out of Islam. They show how people shifting in either direction have to learn or unlearn habits and change their styles of clothing, dietary restrictions, and ways of interacting with their communities. They also look at how communities react to both converts to the religion and converts out of it, including controversies over the death penalty for apostates. The contributors cover the political aspects of conversion as well, including debates on radicalization in the era of the “war on terror” and the role of moderate Islam in conversions.
Whether contrasting the transformation of Africa’s oldest museum, the South Africa Museum, with one of its newest, the Lwandle Migrant Labor Museum; offering an interpretation of the audio guide at the Guggenheim Bilbao; reflecting on the relative paucity of art museums in Peru and Cambodia; considering representations of slavery in the United States and Ghana; or meditating on the ramifications of an exhibition of Australian aboriginal art at the Asia Society in New York City, the contributors highlight the frictions, contradictions, and collaborations emerging in museums and heritage sites around the world. The volume opens with an extensive introductory essay by Ivan Karp and Corinne A. Kratz, leading scholars in museum and heritage studies.
Contributors. Tony Bennett, David Bunn, Gustavo Buntinx, Cuauhtémoc Camarena, Andrea Fraser, Martin Hall, Ivan Karp, Barbara Kirshenblatt-Gimblett, Corinne A. Kratz, Christine Mullen Kreamer, Joseph Masco, Teresa Morales, Howard Morphy, Ingrid Muan, Fred Myers, Ciraj Rassool, Vicente Razo, Fath Davis Ruffins, Lynn Szwaja, Krista A. Thompson, Leslie Witz, Tomás Ybarra-Frausto
Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier’s learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way.
Contributors are Nimrod Baranovitch, Adriana Helbig, Javier F. Leon, Ana María Ochoa, Silvia Ramos, Helen Rees, Felicia Sandler, Amy Ku'uleialoha Stillman, Ricardo D. Trimillos, Andrew N. Weintraub, and Bell Yung.
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied.
The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose.
Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.
Musical talent in Western culture is regarded as an extraordinary combination of technical proficiency and interpretative sensitivity. In Music, Disability, and Society, Alex Lubet challenges the rigid view of technical skill and writes about music in relation to disability studies. He addresses the ways in which people with disabilities are denied the opportunity to participate in music.
Elaborating on the theory of "social confluence," Lubet provides a variety of encounters between disability and music to observe radical transformations of identity. Considering hand-injured and one-handed pianists; the impairments of jazz luminaries Django Reinhardt, Horace Parlan, and "Little" Jimmy Scott; and the "Blind Orchestra" of Cairo, he shows how the cultural world of classical music contrasts sharply with that of jazz and how musicality itself is regarded a disability in some religious contexts. Music, Disability, and Society also explains how language difference can become a disability for Asian students in American schools of music, limiting their education and careers.
Lubet offers pungent criticism of the biases in music education and the music profession, going so far as to say that culture disables some performers by adhering to rigid notions of what a musician must look like, how music must be played, who may play it, and what (if any) is the legitimate place of music in society. In Music, Disability, and Society, he convincingly argues that where music is concerned, disability is a matter of culture, not physical impairment.
Although the use of music for extramusical purposes has been a part of American culture for some time, the phenomenon remained largely unknown to the general public until revelations became widespread of startling military practices during the second Iraq War. In Music in American Crime Prevention and Punishment, Lily E. Hirsch explores the related terrain at the intersection of music and law, demonstrating the ways in which music has become a tool of law enforcement and justice through: police and community leaders’ use of classical music in crime deterrence and punishment; the use of rap lyrics as prosecutorial evidence; allegations of music as incitement to violence; and the role of music in U.S. prisons and in detention centers in Guantanamo, Iraq, and Afghanistan.
In the course of her study, Hirsch asks several questions: How does the law treat music? When and why does music participate in the law? How does music influence the legal process? How does the legal process influence music? And how do these appropriations affect the Romantic ideals underlying our view of music?
Making music offers enormous possibilities--and faces significant limitations--in its power to generate belonging and advance social justice. Tony Perman and Stefan Fiol edit essays focused on the forms of interplay between music-making and community-making as mutually creative processes. Contributors in the first section look at cases where music arrived in settings with little or no sense of community and formed social bonds that lasted beyond its departure. In the sections that follow, the essayists turn to stable communities that used musical forms to address social needs and both forged new social groups and, in some cases, splintered established communities. By centering the value of difference in productive feedback dynamics of music and community while asserting the need for mutual moral indebtedness, they foreground music’s potential to transform community for the better.
Contributors: Stephen Blum, Joanna Bosse, Sylvia Bruinders, Donna A. Buchanan, Rick Deja, Veit Erlmann, Stefan Fiol, Eduardo Herrera, David A. McDonald, Tony Perman, Thomas Solomon, and Ioannis Tsekouras
Tracing the connections between music making and built space in both historical and contemporary times, Music, Sound, and Architecture in Islam brings together domains of intellectual reflection that have rarely been in dialogue to promote a greater understanding of the centrality of sound production in constructed environments in Muslim religious and cultural expression.
Representing the fields of ethnomusicology, anthropology, art history, architecture, history of architecture, religious studies, and Islamic studies, the volume’s contributors consider sonic performances ranging from poetry recitation to art, folk, popular, and ritual musics—as well as religious expressions that are not usually labeled as “music” from an Islamic perspective—in relation to monumental, vernacular, ephemeral, and landscape architectures; interior design; decoration and furniture; urban planning; and geography. Underscoring the intimate relationship between traditional Muslim sonic performances, such as the recitation of the Qur’an or devotional songs, and conventional Muslim architectural spaces, from mosques and Sufi shrines to historic aristocratic villas, gardens, and gymnasiums, the book reveals Islam as an ideal site for investigating the relationship between sound and architecture, which in turn proves to be an innovative and significant angle from which to explore Muslim cultures.
Música norteña, a musical genre with its roots in the folk ballad traditions of Northern Mexico and the Texas-Mexican border region, has become a hugely popular musical style in the U.S., particularly among Mexican immigrants. Featuring evocative songs about undocumented border-crossers, drug traffickers, and the plight of immigrant workers, música norteña has become the music of a “nation between nations.” Música Norteña is the first definitive history of this transnational music that has found enormous commercial success in norteamérica.
Cathy Ragland, an ethnomusicologist and former music critic, serves up the fascinating fifty-year story of música norteña, enlivened by interviews with important musicians and her own first-hand observations of live musical performances. Beyond calling our attention to musical influences, Ragland shows readers the social and economic forces at work behind the music. By comparing música norteña with other popular musical forms, including conjunto tejano, she helps us understand and appreciate the musical ties that bind the Mexican diaspora.
Contributors are Stephen Blum, Patricia Shehan Campbell, Sabine M. Feisst, Lawrence Gushee, Robert S. Hatten, William Kinderman, Natalie Kononenko, Robert Levin, Charlotte Mattax Moersch, Ingrid Monson, John P. Murphy, Bruno Nettl, A. Jihad Racy, Anne K. Rasmussen, Stephen Slawek, Gabriel Solis, Nicholas Temperley, John Toenjes, and Thomas Turino.
Musicians of Asian descent enjoy unprecedented prominence in concert halls, conservatories, and classical music performance competitions. In the first book on the subject, Mari Yoshihara looks into the reasons for this phenomenon, starting with her own experience of learning to play piano in Japan at the age of three. Yoshihara shows how a confluence of culture, politics and commerce after the war made classical music a staple in middle-class households, established Yamaha as the world's largest producer of pianos and gave the Suzuki method of music training an international clientele. Soon, talented musicians from Japan, China and South Korea were flocking to the United States to study and establish careers, and Asian American families were enrolling toddlers in music classes.
Against this historical backdrop, Yoshihara interviews Asian and Asian American musicians, such as Cho-Liang Lin, Margaret Leng Tan, Kent Nagano, who have taken various routes into classical music careers. They offer their views about the connections of race and culture and discuss whether the music is really as universal as many claim it to be. Their personal histories and Yoshihara's observations present a snapshot of today's dynamic and revived classical music scene.
Employing a multi-tiered approach, Emanuele Sica examines the simultaneously conflicting and symbiotic relationship between the French population and Italian soldiers. At the grassroots level, Sica asserts that the cultural proximity between the soldiers and the local population, one-quarter of which was Italian, smoothed the sharp angles of miscommunication and cultural faux-pas at a time of great uncertainty. At the same time, it encouraged a laxness in discipline that manifested as fraternization and black marketeering. Sica's examination of political tensions highlights how French prefects and mayors fought to keep the tatters of sovereignty in the face of military occupation. In addition, he reveals the tense relationship between Fascist civilian authorities eager to fulfil imperial dreams of annexation and army leaders desperate to prevent any action that might provoke French insurrection. Finally, he completes the tableau with detailed accounts of how food shortages and French Resistance attacks brought sterner Italian methods, why the Fascists' attempted "Italianization" of the French border city of Menton failed, and the ways the occupation zone became an unlikely haven for Jews.
A vividly described and intensely personal memoir, My Bayou charts a personal and spiritual transformation along the fabled banks of Bayou Saint John in New Orleans. When Constance Adler moves to New Orleans, she begins what becomes a lasting love affair with the city, and especially the bayou—a living entity and the beating heart of local culture. Rites of passage, celebrations, mysterious accidents, and magic all take place on its banks, leading Adler to a vibrant awareness of the power of being part of a community. That faith is tested in the wake of Hurricane Katrina, and is ultimately proven right, as Bayou Saint John begins to rebuild.
In My Kind of Transit, Darrin Nordahl argues that like life itself, transportation isn't only about the destination, but the journey. Public transit reduces traffic and pollution, yet few of us are willing to get out of our cars and onto subways and buses. But Nordahl demonstrates that when using public transit is an enjoyable experience, tourists and commuters alike willingly hand in their keys.
The trick is creating a system that isn't simply a poor imitation of the automobile, but offers its own pleasures and comforts. While a railway or bus will never achieve the quiet solitude of a personal car, it can provide, much like a well-designed public park, an inviting, communal space.
My Kind of Transit is an animated tour of successful transportation systems, offering smart, commonsense analysis of what makes transit fun. Nordahl draws on examples like the iconic street cars of New Orleans and the picturesque cable cars in San Francisco, illustrating that the best transit systems are uniquely tailored to their individual cities. He also describes universal principles of good transit design.
Nordahl's humanistic treatment will help planners, designers, transportation professionals, and policymakers create transit systems the public actually wants to ride. And it will introduce all readers to delightful ways of getting from point A to point B.
"Ever since the creators of the animated television show South Park turned their lovingly sardonic gaze on the massively multiplayer online game World of Warcraft for an entire episode, WoW's status as an icon of digital culture has been secure. My Life as a Night Elf Priest digs deep beneath the surface of that icon to explore the rich particulars of the World of Warcraft player's experience."
—Julian Dibbell, Wired
"World of Warcraft is the best representative of a significant new technology, art form, and sector of society: the theme-oriented virtual world. Bonnie Nardi's pioneering transnational ethnography explores this game both sensitively and systematically using the methods of cultural anthropology and aesthetics with intensive personal experience as a guild member, media teacher, and magical quest Elf."
World of Warcraft rapidly became one of the most popular online world games on the planet, amassing 11.5 million subscribers—officially making it an online community of gamers that had more inhabitants than the state of Ohio and was almost twice as populous as Scotland. It's a massively multiplayer online game, or MMO in gamer jargon, where each person controls a single character inside a virtual world, interacting with other people's characters and computer-controlled monsters, quest-givers, and merchants.
In My Life as a Night Elf Priest, Bonnie Nardi, a well-known ethnographer who has published extensively on how theories of what we do intersect with how we adopt and use technology, compiles more than three years of participatory research in Warcraft play and culture in the United States and China into this field study of player behavior and activity. She introduces us to her research strategy and the history, structure, and culture of Warcraft; argues for applying activity theory and theories of aesthetic experience to the study of gaming and play; and educates us on issues of gender, culture, and addiction as part of the play experience. Nardi paints a compelling portrait of what drives online gamers both in this country and in China, where she spent a month studying players in Internet cafes.
Bonnie Nardi has given us a fresh look not only at World of Warcraft but at the field of game studies as a whole. One of the first in-depth studies of a game that has become an icon of digital culture, My Life as a Night Elf Priest will capture the interest of both the gamer and the ethnographer.
Bonnie A. Nardi is an anthropologist by training and a professor in the Department of Informatics in the Donald Bren School of Information and Computer Sciences at the University of California, Irvine. Her research focus is the social implications of digital technologies. She is the author of A Small Matter of Programming: Perspectives on End User Computing and the coauthor of Information Ecologies: Using Technology with Heart and Acting with Technology: Activity Theory and Interaction Design.
Cover art by Jessica Damsky
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