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In this highly original study of sexuality, desire, the body, and women,
Liz Wilson investigates first-millennium Buddhist notions of
spirituality. She argues that despite the marginal role women played in
monastic life, they occupied a very conspicuous place in Buddhist
hagiographic literature. In narratives used for the edification of
Buddhist monks, women's bodies in decay (diseased, dying, and after
death) served as a central object for meditation, inspiring spiritual
growth through sexual abstention and repulsion in the immediate world.

Taking up a set of universal concerns connected with the representation
of women, Wilson displays the pervasiveness of androcentrism in Buddhist
literature and practice. She also makes persuasive use of recent
historical work on the religious lives of women in medieval
Christianity, finding common ground in the role of miraculous
afflictions.

This lively and readable study brings provocative new tools and insights
to the study of women in religious life.

For the Enlightenment mind, from Moses Mendelssohn’s focus on the moment of surprise at the heart of the work of art to Herder’s imagining of the seismic moment at which language was discovered, it is the flash of recognition that nails the essence of the work, the blink of an eye in which one’s world changes. 

In Cherubino’s Leap, Richard Kramer unmasks such prismatic moments in iconic music from the Enlightenment, from the “chromatic” moment—the single tone that disturbs the thrust of a diatonic musical discourse—and its deployment in seminal instrumental works by Emanuel Bach, Haydn, and Mozart; on to the poetic moment, taking the odes of Klopstock, in their finely wrought prosody, as a challenge to the problem of strophic song; and finally to the grand stage of opera, to the intense moment of recognition in Gluck’s Iphigénie en Tauride and the exquisitely introverted phrase that complicates Cherubino’s daring moment of escape in Mozart’s Figaro. Finally, the tears of the disconsolate Konstanze in Mozart’s Die Entführung aus dem Serail provoke a reflection on the tragic aspect of Mozart’s operatic women. Throughout, other players from literature and the arts—Diderot, Goethe, Lessing among them—enrich the landscape of this bold journey through the Enlightenment imagination.

Maurice Merleau-Ponty is one of the few major phenomenologists to engage extensively with empirical research in the sciences, and the only one to examine child psychology with rigor and in such depth. His writings have recently become increasingly influential, as the findings of psychology and cognitive science inform and are informed by phenomenological inquiry.

Merleau-Ponty’s Sorbonne lectures of 1949 to 1952 are a broad investigation into child psychology, psychoanalysis, pedagogy, phenomenology, sociology, and anthropology. They argue that the subject of child psychology is critical for any philosophical attempt to understand individual and intersubjective existence. Talia Welsh’s new translation provides Merleau-Ponty’s complete lectures on the seminal engagement of phenomenology and psychology.

Through the writings of noted Chinese philosophers, scholars, artists, and critics from the time of Confucius to the present, this rich compendium provides a fascinating guided tour of China's evolving conceptions of theater and performance. The book's more than sixty selections are arranged chronologically to provide a historical overview of four major periods: antiquity to the Song dynasty (fourth century B.C.E.-1279 C.E.); the Yuan dynasty (1271-1368) and Ming dynasty (1368-1644); the Qing dynasty (1644-1911); and the rest of the twentieth century.
The writings collected here treat the origins, aesthetic principles, and functions of theater. Some are virtual manuals on playwriting and performance techniques; some describe the practices, conditions, and government policies concerning theatrical performance. Many of the selections forcefully dispute the myth that Chinese theater is valuable in performance but lacking in literature--the fact is that there is an equal, if not more prominent, emphasis on theme and content. What emerges from the writings in Chinese Theories of Theater and Performance from Confucius to the Present is a highly evolved and sophisticated aesthetic.
The texts are enhanced by Faye C. Fei's extensive introductions and annotative notes that provide essential background and contextual information. She has provided accurate and engagingly written translations of the texts, making the majority of them available in English for the first time. The anthology will appeal to teachers and students of theater and performance, artists interested in Chinese theater and arts, and scholars and historians of Asia. Literary critics, aestheticians, philosophers, and social scientists will also find the volume of interest, since Chinese conceptions of the theater and performance are closely connected to China's general outlook on the humanities.
Faye C. Fei is Assistant Professor of Dramatic Arts, Macalester College.

"Chinese philosophy before our Christian era is emphasized in this nontechnical summary of Chinese thought. Professor Creel also deals with Confucianism, the ideas of Mo-tsu and Mencius, Taoism, Legalism, and their variations and adaptations. As an introduction for the general reader, this book stands among the best."—China: A Resource and Curriculum Guide

"There exists nowhere else such a well-written presentation of the main trends in Chinese thought in so brief a space. The text is not cluttered with Chinese names and the pages are not weighed down with footnotes—but the references are there for those who want them, with suggestions for further readings. This is a book which can be understood by those who have never read anything else about China."—The New York Times Book Review

The Confucian doctrine of tianxia (all under heaven) outlines a unitary worldview that cherishes global justice and transcends social, geographic, and political divides. For contemporary scholars, it has held myriad meanings, from the articulation of a cultural imaginary and political strategy to a moralistic commitment and a cosmological vision. The contributors to Chinese Visions of World Order examine the evolution of tianxia's meaning and practice in the Han dynasty and its mutations in modern times. They attend to its varied interpretations, its relation to realpolitik, and its revival in twenty-first-century China. They also investigate tianxia's birth in antiquity and its role in empire building, invoke its cultural universalism as a new global imagination for the contemporary world, analyze its resonance and affinity with cosmopolitanism in East-West cultural relations, discover its persistence in China's socialist internationalism and third world agenda, and critique its deployment as an official state ideology. In so doing, they demonstrate how China draws on its past to further its own alternative vision of the current international system.

Contributors. Daniel A. Bell, Chishen Chang, Kuan-Hsing Chen, Prasenjit Duara, Hsieh Mei-yu, Haiyan Lee, Mark Edward Lewis, Lin Chun, Viren Murthy, Lisa Rofel, Ban Wang, Wang Hui, Yiqun Zhou

Rational choice theory has become the basis for much of the recent work done in political science. Yet explanations of many political phenomena elude rational choice theorists. Robert Grafstein offers a modification to rational choice theory that extends its ability to explain social behavior.

Grafstein argues that, instead of basing the analysis on the assumption that an actor will maximise her expected utility or her utility given the probability that the event will happen, we should define rationality as the maximisation of expected utility conditional on the probability that her act will bring the event about. This definition of utility, based on the work of Richard Jeffrey, restores the consequences of an individual's act to rational choice analysis. For example, in making a decision to vote, a conditional expected utility maximiser will compare the likelihood of victory for her preferred candidate given her own participation with the likelihood of a victory given her abstention.

The author shows the theoretical implications of this new definition of rationality and then uses it to explain certain aspects of ethnic identity and mobilization, ideology, and altruism and intertemporal choice. He then explores the implications of this idea for policy analysis and econometrics. This book will provoke a debate about how work based in rational choice theories is done.

Robert Grafstein is Professor of Political Science, University of Georgia.

      Contemporary scholarship tends to view Albert Camus as a modern, but he himself was conscious of the past and called the transition from Hellenism to Christianity “the true and only turning point in history.” For Camus, modernity was not fully comprehensible without an examination of the aspirations that were first articulated in antiquity and that later received their clearest expression in Christianity. These aspirations amounted to a fundamental reorientation of human life in politics, religion, science, and philosophy.

Understanding the nature and achievement of that reorientation became the central task of Christian Metaphysics and Neoplatonism. Primarily known through its inclusion in a French omnibus edition, ithas remained one of Camus’ least-read works, yet it marks his first attempt to understand the relationship between Greek philosophy and Christianity as he charted the movement from the Gospels through Gnosticism and Plotinus to what he calls Augustine’s “second revelation” of the Christian faith.

            Ronald Srigley’s translation of this seminal document helps illuminate these aspects of Camus’ work. His freestanding English edition exposes readers to an important part of Camus’ thought that is often overlooked by those concerned primarily with the book’s literary value and supersedes the extant McBride translation by retaining a greater degree of literalness.

Srigley has fully annotated Christian Metaphysics to include nearly all of Camus’ original citations and has tracked down many poorly identified sources. When Camus cites an ancient primary source, whether in French translation or in the original language, Srigley substitutes a standard English translation in the interest of making his edition accessible to a wider range of readers. His introduction places the text in the context of Camus’ better-known later work, explicating its relationship to those mature writings and exploring how its themes were reworked in subsequent books.

Arguing that Camus was one of the great critics of modernity through his attempt to disentangle the Greeks from the Christians, Srigley clearly demonstrates the place of Christian Metaphysics in Camus’ oeuvre. As the only stand-alone English version of this important work—and a long-overdue critical edition—his fluent translation is an essential benchmark in our understanding of Camus and his place in modern thought. 

The third and fourth books of Cicero's Tusculan Disputations deal with the nature and management of human emotion: first grief, then the emotions in general. In lively and accessible style, Cicero presents the insights of Greek philosophers on the subject, reporting the views of Epicureans and Peripatetics and giving a detailed account of the Stoic position, which he himself favors for its close reasoning and moral earnestness. Both the specialist and the general reader will be fascinated by the Stoics' analysis of the causes of grief, their classification of emotions by genus and species, their lists of oddly named character flaws, and by the philosophical debate that develops over the utility of anger in politics and war.

Margaret Graver's elegant and idiomatic translation makes Cicero's work accessible not just to classicists but to anyone interested in ancient philosophy and psychotherapy or in the philosophy of emotion. The accompanying commentary explains the philosophical concepts discussed in the text and supplies many helpful parallels from Greek sources.

“More than fifteen years ago,” Jacques Derrida writes in the prologue to this remarkable and uniquely revealing book, “a phrase came to me, as though in spite of me. . . . It imposed itself upon me with the authority, so discreet and simple it was, of a judgment: ‘cinders there are’ (il y a là cendre). . . . I had to explain myself to it, respond to it—or for it.”

In Cinders Derrida ranges across his work from the previous twenty years and discerns a recurrent cluster of arguments and images, all involving in one way or another ashes and cinders. For Derrida, cinders or ashes—at once fragile and resilient—are “the better paradigm for what I call the trace—something that erases itself totally, radically, while presenting itself.”

In a style that is both highly condensed and elliptical, Cinders offers probing reflections on the relation of language to truth, writing, the voice, and the complex connections between the living and the dead. It also contains some of his most essential elaborations of his thinking on the feminine and on the legacy of the Holocaust (both a word—from the Greek hólos, “whole,” and kaustós, “burnt”—and a historical event that invokes ashes) in contemporary poetry and philosophy. In turning from the texts of other philosophers to his own, Cinders enables readers to follow the trajectory from Derrida’s early work on the trace, the gramma, and the voice to his later writings on life, death, time, and the spectral.

Among the most accessible of this renowned philosopher’s many writings, Cinders is an evocative and haunting work of poetic self-analysis that deepens our understanding of Derrida’s critical and philosophical vision.

In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best understood as “approaching reality.” What these Chinese theorists mean, in Fan’s reading, is that the cinematographic image is not a form of total reality, but it can allow spectators to apprehend an effect as though they had been there at the time when an event actually happened.

Fan suggests that the phrase “approaching reality” can help to renegotiate an aporia (blind spot) that influential French film critic André Bazin wrestled with: the cinematographic image is a trace of reality, yet reality is absent in the cinematographic image, and the cinema makes present this absence as it reactivates the passage of time. Fan enriches Bazinian cinematic ontology with discussions on cinematic reality in Republican China and colonial Hong Kong, putting Western theorists—from Bazin and Kracauer to Baudrillard, Agamben, and Deleuze—into dialogue with their Chinese counterparts. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn.

Cinema without Reflection traces an implicit film theory in Jacques Derrida’s oeuvre, especially in his frequent invocation of the myth of Echo and Narcissus. Derrida’s reflections on the economies of image and sound that reverberate in this story, along with the spectral dialectics of love, mirrors, and poiesis, serve as the basis for a theory of cinema that Derrida perhaps secretly imagined.

Following Derrida’s interventions on Echo and Narcissus across his thought on the visual arts, Akira Mizuta Lippit seeks to return to a theory of cinema adrift in Derrida’s philosophy.

Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

In his 1952 book In Battle for Peace, published when W. E. B. Du Bois was eighty-three years old, the brilliant black scholar announced that he was a “citizen of the world.” Citizen of the World chronicles selected chapters of Du Bois’s final three decades between the 1930s and 1960s. It maps his extraordinarily active and productive latter years to social, cultural, and political transformations across the globe.

From his birth in 1868 until his death in 1963, Du Bois sought the liberation of black people in the United States and across the world through intellectual and political labor. His tireless efforts documented and demonstrated connections between freedom for African-descended people abroad and black freedom at home.

In concert with growing scholarship on his twilight years, the essays in this volume assert the fundamental importance of considering Du Bois’s later decades not as a life in decline that descended into blind ideological allegiance to socialism and communism but as the life of a productive, generative intellectual who responded rationally, imaginatively, and radically to massive mid-century changes around the world, and who remained committed to freedom’s realization until his final hour.

Tracing a central theme of Plato's Republic, G. R. F. Ferrari reconsiders in this study the nature and purpose of the comparison between the structure of society and that of the individual soul. In four chapters, Ferrari examines the personalities and social status of the brothers Glaucon and Adeimantus, Plato's notion of justice, coherence in Plato's description of the decline of states, and the tyrant and the philosopher king—a pair who, in their different ways, break with the terms of the city-soul analogy.

In addition to acknowledging familiar themes in the interpretation of the Republic—the sincerity of its utopianism, the justice of the philosopher's return to the Cave—Ferrari provocatively engages secondary literature by Leo Strauss, Bernard Williams, and Jonathan Lear. With admirable clarity and insight, Ferrari conveys the relation between the city and the soul and the choice between tyranny and philosophy. City and Soul in Plato's Republic will be of value to students of classics, philosophy, and political theory alike.

Jazz is born of collaboration, improvisation, and listening. In much the same way, the American democratic experience is rooted in the interaction of individuals. It is these two seemingly disparate, but ultimately thoroughly American, conceits that Gregory Clark examines in Civic Jazz. Melding Kenneth Burke’s concept of rhetorical communication and jazz music’s aesthetic encounters with a rigorous sort of democracy, this book weaves an innovative argument about how individuals can preserve and improve civic life in a democratic culture.

Jazz music, Clark argues, demonstrates how this aesthetic rhetoric of identification can bind people together through their shared experience in a common project. While such shared experience does not demand agreement—indeed, it often has an air of competition—it does align people in practical effort and purpose. Similarly, Clark shows, Burke considered Americans inhabitants of a persistently rhetorical situation, in which each must choose constantly to identify with some and separate from others. Thought-provoking and path-breaking, Clark’s harmonic mashup of music and rhetoric will appeal to scholars across disciplines as diverse as political science, performance studies, musicology, and literary criticism.

Taking the Scottish Enlightenment philosopher David Hume as its subject, this book breaks new ground in focusing its lens on a little-studied aspect of Hume’s thinking: his understanding of money.

George Caffentzis makes both an intervention in the field of monetary philosophy and into Marxian conceptions of the relation between philosophy and capitalist development. He vividly charts the ways in which Hume’s philosophy directly informed the project of ‘civilizing’ the people of the Scottish Highlands and pacifying the English proletariat in response to the revolts of both groups at the heart of the empire.

Built on careful historical and philosophical detective work, Civilizing Money offers a stimulating and radical political reading of the ways in which Hume’s fundamental philosophical claims performed concrete political functions.

The late anthropologist Valerio Valeri (1944–98) was best known for his substantial writings on societies of Polynesia and eastern Indonesia. This volume, however, presents a lesser-known side of Valeri’s genius through a dazzlingly erudite set of comparative essays on core topics in the history of anthropological theory. Offering masterly discussions of anthropological thought about ritual, fetishism, cosmogonic myth, belief, caste, kingship, mourning, play, feasting, ceremony, and cultural relativism, Classic Concepts in Anthropology, will be an eye-opening, essential resource for students and researchers not only in anthropology but throughout the humanities.

 

This collection provides a thorough grounding in the philosophy of American pragmatism by examining the views of four principal thinkers—Charles S. Peirce, William James, John Dewey, and George Herbert Mead—on issues of central and enduring importance to life in human society.
Pragmatism emerged as a characteristically American response to an inheritance of British empiricism.
Presenting a radical reconception of the nature of experience, pragmatism represents a belief that ideas are not merely to be contemplated but must be put into action, tested and refined through experience. At the same time, the American pragmatists argued for an emphasis on human community that would offset the deep-seated American bias in favor of individualism. Far from being a relic of the past, pragmatism offers a dynamic and substantive approach to questions of human conduct, social values, scientific inquiry, religious belief, and aesthetic experience that lie at the center of contemporary life. This volume is an invaluable introduction to a school of thought that remains vital, instructive, and provocative.
 

The Mahapuranas embody the received tradition of Hindu mythology. This anthology contains fresh translations of these myths, only a few of which have ever been available in English before, thus providing a rich new portion of Hindu mythology.

The book is organized into six chapters. "Origins" contains myths relating to creation, time, and space. "Seers, Kings and Supernaturals" relates tales of rivers, trees, animals, demons, and men, particularly heroes and sages. Myths about the chief gods are dealt with in three separate chapters: "Krsna," "Visnu," and "Siva." The chapter "The Goddess" presents stories of the wives and lovers of the gods, as well as of Kali, the savage battle goddess.

In their introductions, the editors provide a historical setting in which to discuss Hindu mythology as well as a full analysis of its basic sources. The many names given the gods and goddesses in the Sanskrit texts have been retained since their multiplicity is an essential part of the richness of the original. The editors have provided a thorough glossary to make these names accessible.

Since the 1970s film studies has been dominated by a basic paradigm—the concept of classical Hollywood cinema—that is, the protagonist-driven narrative, valued for the way it achieves closure by neatly answering all of the enigmas it raises. It has been held to be a form so powerful that its aesthetic devices reinforce gender positions in society. In a variety of ways, the essays collected here—representing the work of some of the most innovative theorists writing today—challenge this paradigm.
Significantly expanded from a special issue of South Atlantic Quarterly (Spring 1989), these essays confront the extent to which formalism has continued to dominate film theory, reexamine the role of melodrama in cinematic development, revise notions of "patriarchal cinema," and assert the importance of television and video to cinema studies. A range of topics are discussed, from the films of D. W. Griffith to sexuality in avant-garde film to television's Dynasty.

Contributors. Rick Altman, Richard Dienst, Jane Feuer, Jane Gaines, Christine Gledhill, Miriam Hansen, Norman N. Holland, Fredric Jameson, Bill Nichols, Janey Staiger, Chris Straayer, John O. Thompson

It is generally assumed that, in polite company, you don’t talk politics, religion, or money. But in recent years, it seems “climate change” needs to be added to that list. Incorporating all of the above, few topics can divide a dinner party faster. Yet, while much ink has been spilled on both sides of the issue, few have considered the debate itself and what it reveals about modern culture.

Climate Conundrums is a journey through how we as humans think, individually and collectively, about the debate. It eschews rhetoric or fist-pounding conclusions and instead explores our ongoing attempts to reach a societal understanding about climate change and how we should respond to it. The essays throughout are broadly organized around our relationship with nature, the challenges facing human society, and the path ahead for civilization. Each begins with a question—Can we make nature better? Could science and religion reconcile?—and from there follows an introspective path through all sides of the debates. Some are longstanding issues, such as whether humans are growing increasingly distant from nature. Others are brought on by recent developments, such as whether technology can eventually solve all of society’s needs.

While no final answers are given, the insights that come from reflecting on these questions can help us better find our way and better connect with each other across the climate divide.

Each month brings new scientific findings that demonstrate the ways in which human activities, from resource extraction to carbon emissions, are doing unprecedented, perhaps irreparable damage to our world. As we hear these climate change reports and their predictions for the future of Earth, many of us feel a sickening sense of déjà vu, as though we have already seen the sad outcome to this story.
 
Drawing from recent scholarship that analyzes climate change as a form of “slow violence” that humans are inflicting on the environment, Climate Trauma theorizes that such violence is accompanied by its own psychological condition, what its author terms “Pretraumatic Stress Disorder.” Examining a variety of films that imagine a dystopian future, renowned media scholar E. Ann Kaplan considers how the increasing ubiquity of these works has exacerbated our sense of impending dread. But she also explores ways these films might help us productively engage with our anxieties, giving us a seemingly prophetic glimpse of the terrifying future selves we might still work to avoid becoming. 
 
Examining dystopian classics like Soylent Green alongside more recent examples like The Book of Eli, Climate Trauma also stretches the limits of the genre to include features such as Blindness, The Happening, Take Shelter, and a number of documentaries on climate change. These eclectic texts allow Kaplan to outline the typical blind-spots of the genre, which rarely depicts climate catastrophe from the vantage point of women or minorities. Lucidly synthesizing cutting-edge research in media studies, psychoanalytic theory, and environmental science, Climate Trauma provides us with the tools we need to extract something useful from our nightmares of a catastrophic future.    

The Cartesian cogito—the principle articulated by Descartes that "I think, therefore I am"—is often hailed as the precursor of modern science. At the same time, the cogito's agent, the ego, is sometimes feared as the agency of manipulative domination responsible for all present woes, from patriarchal oppression to ecological catastrophes. Without psychoanalyzing philosophy, Cogito and the Unconscious explores the vicissitudes of the cogito and shows that psychoanalyses can render visible a constitutive madness within modern philosophy, the point at which "I think, therefore I am" becomes obsessional neurosis characterized by "If I stop thinking, I will cease to exist."

Noting that for Lacan the Cartesian construct is the same as the Freudian "subject of the unconscious," the contributors follow Lacan's plea for a psychoanalytic return to the cogito. Along the path of this return, they examine the ethical attitude that befits modern subjectivity, the inherent sexualization of modern subjectivity, the impasse in which the Cartesian project becomes involved given the enigmatic status of the human body, and the Cartesian subject's confrontation with its modern critics, including Althusser, Bataille, and Dennett. In a style that has become familiar to Žižek's readers, these essays bring together a strict conceptual analysis and an approach to a wide range of cultural and ideological phenomena—from the sadist paradoxes of Kant's moral philosophy to the universe of Ayn Rand's novels, from the question "Which, if any, is the sex of the cogito?" to the defense of the cogito against the onslaught of cognitive sciences.

Challenging us to reconsider fundamental notions of human consciousness and modern subjectivity, this is a book whose very Lacanian orthodoxy makes it irreverently transgressive of predominant theoretical paradigms. Cogito and the Unconscious will appeal to readers interested in philosophy, psychoanalysis, cultural studies, and theories of ideology.

Contributors. Miran Bozovic, Mladen Dolar, Alain Grosrichard, Marc de Kessel, Robert Pfaller, Renata Salecl, Slavoj Žižek, Alenka Zupancic

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. 

There is one critical way we honor great tragedies: by never forgetting. Collective remembrance is as old as human society itself, serving as an important source of social cohesion, yet as Jeffrey Andrew Barash shows in this book, it has served novel roles in a modern era otherwise characterized by discontinuity and dislocation. Drawing on recent theoretical explorations of collective memory, he elaborates an important new philosophical basis for it, one that unveils profound limitations to its scope in relation to the historical past.
           
Crucial to Barash’s analysis is a look at the radical transformations that symbolic configurations of collective memory have undergone with the rise of new technologies of mass communication. He provocatively demonstrates how such technologies’ capacity to simulate direct experience—especially via the image—actually makes more palpable collective memory’s limitations and the opacity of the historical past, which always lies beyond the reach of living memory. Thwarting skepticism, however, he eventually looks to literature—specifically writers such as Walter Scott, Marcel Proust, and W. G. Sebald—to uncover subtle nuances of temporality that might offer inconspicuous emblems of a past historical reality.

As European colonies in Asia and Africa became independent nations, as the United States engaged in war in Southeast Asia and in covert operations in South America, anthropologists questioned their interactions with their subjects and worried about the political consequences of government-supported research.  By 1970, some spoke of anthropology as “the child of Western imperialism” and as “scientific colonialism.”  Ironically, as the link between anthropology and colonialism became more widely accepted within the discipline, serious interest in examining the history of anthropology in colonial contexts diminished.

    This volume is an effort to initiate a critical historical consideration of the varying “colonial situations” in which (and out of which) ethnographic knowledge essential to anthropology has been produced.  The essays comment on ethnographic work from the middle of the nineteenth century to nearly the end of the twentieth, in regions from Oceania through southeast Asia, the Andaman Islands, and southern Africa to North and South America. 

    The “colonial situations” also cover a broad range, from first contact through the establishment of colonial power, from District Officer administrations through white settler regimes, from internal colonialism to international mandates, from early “pacification” to wars of colonial liberation, from the expropriation of land to the defense of ecology.  The motivations and responses of the anthropologists discussed are equally varied:  the romantic resistance of Maclay and the complicity of Kubary in early colonialism; Malinowski’s salesmanship of academic anthropology; Speck’s advocacy of Indian land rights; Schneider’s grappling with the ambiguities of rapport; and Turner’s facilitation of Kaiapo cinematic activism.

“Provides fresh insights for those who care about the history of science in general and that of anthropology in particular, and a valuable reference for professionals and graduate students.”—Choice

“Among the most distinguished publications in anthropology, as well as in the history of social sciences.”—George Marcus, Anthropologica