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A merger of expert scholarship and eyewitness experience, Mongolian Sound Worlds illuminates a diverse and ever-changing musical culture.

Contributors: Bayarsaikhan Badamsuren, Otgonbaayar Chuulunbaatar, Andrew Colwell, Johanni Curtet, Charlotte D’Evelyn, Tamir Hargana, Peter K. Marsh, K. Oktyabr, Rebekah Plueckhahn, Jennifer C. Post, D. Tserendavaa, and Sunmin Yoon

The first major study of Asian American representation on U.S. television.

Early in the movement of Asian labor to the United States, immigrants from the Far East were viewed by the dominant Euro-American society as a peril to a white, Christian nation. How far have we come since then? This first comprehensive study of Asian American representation on network television supplies some unsettling answers.

In 1983, a group of citizens in San Cristóbal de las Casas, Chiapas, formed Sna Jtz'ibajom, the Tzotzil-Tzeltal Maya writers' cooperative. In the two decades since, this group has evolved from writing and publishing bilingual booklets to writing and performing plays that have earned them national and international renown.

Anthropologist Robert M. Laughlin has been a part of the group since its beginnings, and he offers a unique perspective on its development as a Mayan cultural force. The Monkey Business Theatre, or Teatro Lo'il Maxil, as this branch of Sna Jtz'ibajom calls itself, has presented plays in virtually every corner of the state of Chiapas, as well as in Mexico City, Guatemala, Honduras, Canada, and in many museums and universities in the United States. It has presented to the world, for the first time in drama, a view of the culture of the Mayas of Chiapas.

In this work, Laughlin presents a translation of twelve of the plays created by Sna Jtz'ibajom, along with an introduction for each. Half of the plays are based on myths and half on the social, political, and economic problems that have confronted—and continue to confront—the Mayas of Chiapas.

Exploring monsters as critical guides to understanding what it means to be human in a perilous world

Thirty years after the publication of Jeffrey Jerome Cohen’s groundbreaking Monster Theory, the field it helped create has grown into a dynamic and influential area of interdisciplinary scholarship. Monster Theory Returns gathers twenty-six original essays exploring an extraordinary range of monstrous figures, from demons and vampires to microbes and emerging posthuman forms, illuminating urgent questions of belonging, political violence, environmental change, and the boundaries of the human itself.

Combining historical depth with a global perspective, these lively essays show that monsters are far more than figures of fear. They are powerful cultural tools for thinking through crises in a perilous and rapidly changing world.

Contributors: U. Melissa Anyiwo, U of Scranton; Benjamin Ash, Arizona State U; Stephen T. Asma, Columbia College, Chicago; Michael M. Chemers, U of California, Santa Cruz; Eli Cumings, Columbia U; Rebecca Duncan, Linnaeus U; Michael Dylan Foster, U of California, Davis; Renée Fox, U of California, Santa Cruz; Kaja Franck, U of Hertfordshire; Rosemarie Garland-Thomson, Emory U; Brandon R. Grafius, Ecumenical Theological Seminary; Anya Heise-von der Lippe, U of Tübingen; Mary Kate Hurley, Ohio U; Anson Koch-Rein, U of North Carolina; Agnieszka Kotwasińska, U of Warsaw; Riva Lehrer; Sherry C.M. Lindquist,  Western Illinois U; Iyad Malouf, Tel Aviv U; Asa Simon Mittman, California State U, Chico; Kirsten Møllegaard, U of Hawai‘i at Hilo; Alan S. Montroso, U of Maryland; David Robinson; Margrit Shildrick, Stockholm U; Jeffrey Andrew Weinstock, Central Michigan U; Emily Zarka, Arizona State U

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Jack the Ripper. Jeffrey Dahmer. John Wayne Gacy. Locusta of Gaul. If that last name doesn’t seem to fit with the others, it’s likely because our modern society largely believes that serial killers are a recent phenomenon. Not so, argues Debbie Felton—in fact, there’s ample evidence to show that serial killers stalked the ancient world just as they do the modern one.

Felton brings this evidence to light in Monsters and Monarchs, and in doing so, forces us to rethink the assumption that serial killers arise from problems unique to modern society. Exploring a trove of stories from classical antiquity, she uncovers mythological monsters and human criminals that fit many serial killer profiles: the highway killers confronted by the Greek hero Theseus, such as Procrustes, who tortured and mutilated their victims; the Sphinx, or “strangler,” from the story of Oedipus; child-killing demons and witches, which could explain abnormal infant deaths; and historical figures such as Locusta of Gaul, the most notorious poisoner in the early Roman Empire. Redefining our understanding of serial killers and their origins, Monsters and Monarchs changes how we view both ancient Greek and Roman society and the modern-day killers whose stories still captivate the public today.

Radical Black feminist refusal through the works of mid-twentieth-century African American women writers
 

Monstrous Work and Radical Satisfaction offers new and insightful readings of African American women’s writings in the 1930s–1950s, illustrating how these writers centered Black women’s satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. 

Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers’ dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women’s capacity to locate satisfaction within the domestic and interpersonal.

While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people’s quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women’s completeness, joy, and happiness outside the bounds of normative racial inclusion.

One city. One war. A story of transformation at home and abroad.

Using newspaper accounts, interviews, letters, journals, and his own memory of the time, Wesley Newton reconstructs wartime-era Montgomery, Alabama--a sleepy southern capital that was transformed irreversibly during World War II.

The war affected every segment of Montgomery society: black and white, rich and poor, male and female, those who fought in Europe and the Pacific and those who stayed on the home front. Newton follows Montgomerians chronologically through the war from Pearl Harbor to Hiroshima as they experience patriotism, draft and enlistment, rationing, scarcity drives, and the deaths of loved ones. His use of small vignettes based on personal recollections adds drama and poignancy to the story. 

Montgomery in the Good War is an important reminder that wars are waged at home as well as abroad and that their impact reverberates well beyond those who fight on the front lines. Those who came of age during the war will recognize themselves in this moving volume. It will also be enlightening to those who have lived in times of relative peace.

From ancient Maya cities in Mexico and Central America to the Taj Mahal in India, cultural heritage sites around the world are being drawn into the wave of privatization that has already swept through such economic sectors as telecommunications, transportation, and utilities. As nation-states decide they can no longer afford to maintain cultural properties—or find it economically advantageous not to do so in the globalizing economy—private actors are stepping in to excavate, conserve, interpret, and represent archaeological and historical sites. But what are the ramifications when a multinational corporation, or even an indigenous village, owns a piece of national patrimony which holds cultural and perhaps sacred meaning for all the country's people, as well as for visitors from the rest of the world?

In this ambitious book, Lisa Breglia investigates "heritage" as an arena in which a variety of private and public actors compete for the right to benefit, economically and otherwise, from controlling cultural patrimony. She presents ethnographic case studies of two archaeological sites in the Yucatán Peninsula—Chichén Itzá and Chunchucmil and their surrounding modern communities—to demonstrate how indigenous landholders, foreign archaeologists, and the Mexican state use heritage properties to position themselves as legitimate "heirs" and beneficiaries of Mexican national patrimony. Breglia's research masterfully describes the "monumental ambivalence" that results when local residents, excavation laborers, site managers, and state agencies all enact their claims to cultural patrimony. Her findings make it clear that informal and partial privatizations—which go on quietly and continually—are as real a threat to a nation's heritage as the prospect of fast-food restaurants and shopping centers in the ruins of a sacred site.

A groundbreaking exploration of how opaque monuments demand respectful commemoration of enslaved lives

In an era of debate over how monuments should function and whose stories they should tell, Monumental Opacity asks us to consider how some commemorations withhold information to resist appropriation. Sarah Juliet Lauro posits that monuments, broadly defined, that shape public memories of slavery and its resistance could employ intentional obfuscation as an insurgent strategy to protect the self-emancipation of the enslaved person and combat visual possession by curious visitors.

Construing opacity as a form of opposition that renders its subject unapprehendable to viewers, Lauro explores how this concept plays out in museums devoted to the history of slavery, as well as in literature, film, art, countermovements, and protests, with particular attention to artistic works by Kara Walker and Kerry James Marshall and literary works by Victor Hugo and Herman Melville. Opaque commemorations of rebels and freedom fighters create an unbridgeable distance between the spectator and the history they represent. In that space, we are called to consider all that we don’t know about the figures we celebrate and their choice to resist their own objectification, thereby fostering a deeper sense of recognition.

Monumental Opacity is a timely and necessary call to reconsider the very act of commemoration and what it accomplishes. Offering a powerful aesthetic of subversion, Lauro inspires us to think about how—and why—history can be made unconsumable, protected from a voracious public.

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Every society builds, and many, if not all, utilize architectural structures as markers to define place, patron, or experience. Often we consider these architectural markers as “monuments” or “monumental” buildings. Ancient Rome, in particular, is a society recognized for the monumentality of its buildings. While few would deny that the term “monumental” is appropriate for ancient Roman architecture, the nature of this characterization and its development in pre-Roman Italy is rarely considered carefully. What is “monumental” about Etruscan and early Roman architecture?

Delving into the crucial period before the zenith of Imperial Roman building, Monumentality in Etruscan and Early Roman Architecture addresses such questions as, “What factors drove the emergence of scale as a defining element of ancient Italian architecture?” and “How did monumentality arise as a key feature of Roman architecture?” Contributors Elizabeth Colantoni, Anthony Tuck, Nancy A. Winter, P. Gregory Warden, John N. Hopkins, Penelope J. E. Davies, and Ingrid Edlund-Berry reflect on the ways in which ancient Etruscans and Romans utilized the concepts of commemoration, durability, and visibility to achieve monumentality. The editors’ preface and introduction underscore the notion of architectural evolution toward monumentality as being connected to the changing social and political strategies of the ruling elites.

By also considering technical components, this collection emphasizes the development and the ideological significance of Etruscan and early Roman monumentality from a variety of viewpoints and disciplines. The result is a broad range of interpretations celebrating both ancient and modern perspectives.

An exploration of how monuments—both physical and conceptual—shape memory, identity, and public debate across cultures and time.

This compelling volume invites readers to reimagine how monuments shape history, identity, and public space. Monumentality is explored as a dynamic and contested idea—one that moves beyond grand buildings and enduring structures to understand how societies remember the past and envision the future.

Engaging scholarly essays, accompanied by focused reflections on objects held in Getty collections, analyze the emotional, ideological, and technological dimensions of monuments by tracing their changing meanings across cultures and historical periods. Spanning themes of destruction, circulation, territorialization, and empire, the book investigates topics such as the ruin aesthetic of the Paris Commune, the material remnants of Buddhism in India, the construction of Cold War dams, and the influence of Almohad minaret architecture. Throughout, readers will encounter the enduring effects of colonialism, modernization, and settlements on societies around the world—from nineteenth-century West Africa to postwar Japan and Guam to present-day Israel and Ukraine.

Together, these studies integrate histories of art, architecture, and urban landscapes to examine the role of monuments in contemporary life. Monumentality offers fresh perspectives on what we choose to honor, why the past is preserved (or forgotten), and how the complex narratives embedded in memorials or public art condition our experience of the present.

The second in a two-volume series, Moquis and Kastiilam, Volume II, 1680–1781 continues the story of the encounter between the Hopis, who the Spaniards called Moquis, and the Spaniards, who the Hopis called Kastiilam, from the Pueblo Revolt in 1680 through the Spanish expeditions in search of a land route to Alta California until about 1781. By comparing and contrasting Spanish documents with Hopi oral traditions, the editors present a balanced presentation of a shared past. Translations of sixteenth-, seventeenth-, and eighteenth-century documents written by Spanish explorers, colonial officials, and Franciscan missionaries tell the perspectives of the European visitors, and oral traditions recounted by Hopi elders reveal the Indigenous experience.

The editors argue that only the Hopi perspective can balance the story recounted in the Spanish documentary record, which is biased, distorted, and incomplete (as is the documentary record of any European or Euro-American colonial power). The only hope of correcting those weaknesses and the enormous silences about the Hopi responses to Spanish missionization and colonization is to record and analyze Hopi oral traditions, which have been passed down from generation to generation since 1540, and to give voice to Hopi values and social memories of what was a traumatic period in their past.

Volume I documented Spanish abuses during missionization, which the editors address specifically and directly as the sexual exploitation of Hopi women, suppression of Hopi ceremonies, and forced labor of Hopi men and women. These abuses drove Hopis to the breaking point, inspiring a Hopi revitalization that led them to participate in the Pueblo Revolt and to rebuff all subsequent efforts to reestablish Franciscan missions and Spanish control. Volume II portrays the Hopi struggle to remain independent at its most effective—a mixture of diplomacy, negotiation, evasion, and armed resistance. Nonetheless, the abuses of Franciscan missionaries, the bloodshed of the Pueblo Revolt, and the subsequent destruction of the Hopi community of Awat’ovi on Antelope Mesa remain historical traumas that still wound Hopi society today.

Building on rigorous research by the world-renowned Glasgow University Media Group, More Bad News From Israel examines media coverage of the current conflict in the Middle East and the impact it has on public opinion.

The book brings together senior journalists and ordinary viewers to examine how audiences understand the news and how their views are shaped by media reporting. In the largest study ever undertaken in this area, the authors focus on television news. They illustrate major differences in the way Israelis and Palestinians are represented, including how casualties are shown and the presentation of the motives and rationales of both sides. They combine this with extensive audience research involving hundreds of participants from the USA, Britain and Germany. It shows extraordinary differences in levels of knowledge and understanding, especially amongst young people from these countries.

Covering recent developments, including the Israeli attacks on Lebanon and Gaza, this authoritative and up-to-date study will be an invaluable tool for journalists, activists and students and researchers of media studies.

On its initial publication in 1998, John R. Lott’s More Guns, Less Crime drew both lavish praise and heated criticism. More than a decade later, it continues to play a key role in ongoing arguments over gun-control laws: despite all the attacks by gun-control advocates, no one has ever been able to refute Lott’s simple, startling conclusion that more guns mean less crime. Relying on the most rigorously comprehensive data analysis ever conducted on crime statistics and right-to-carry laws, the book directly challenges common perceptions about the relationship of guns, crime, and violence. For this third edition, Lott draws on an additional ten years of data—including provocative analysis of the effects of gun bans in Chicago and Washington, D.C—that brings the book fully up to date and further bolsters its central contention.

A powerful ethnographic portrait of hunger, dignity, and community in America.

In More than Bread: Ethnography of a Soup Kitchen, sociologist Irene Glasser presents a compelling and deeply human exploration of poverty, hunger, and community through the lens of an American soup kitchen. Drawing on immersive ethnographic research, Glasser moves beyond stereotypes and statistics to examine the daily experiences of individuals who depend on emergency food assistance, as well as the volunteers and staff who work to meet their needs.

Through firsthand observations and personal narratives, the book reveals the complex social relationships, challenges, and acts of resilience that unfold within this vital community institution. Glasser explores how issues such as homelessness, unemployment, inequality, mental health, and social isolation intersect in the lives of those seeking assistance, while also highlighting the dignity and humanity of people often overlooked in public discussions of poverty.

More than Bread invites readers to consider broader questions about social responsibility, public policy, and the effectiveness of charitable responses to human need. A valuable resource for understanding the realities of food insecurity in America, this book offers an informative and compassionate perspective on one of society's most pressing challenges. It is an essential read for students, scholars, social workers, policymakers, nonprofit professionals, and anyone interested in poverty, homelessness, and social justice.

Explores the Muslim-Jewish relationship through music in Algeria and its diaspora.

Today, more than six decades after the departure of Jews from Algeria to France at the moment of decolonization, music remains a compelling site for remembering Muslim-Jewish intimacy before the moment of rupture. In this way, music works against dominant discourses of Muslim-Jewish conflict and Jewish outsider status, instead presenting music as a sign of Muslim-Jewish brotherhood and of Jewish rootedness in North Africa. Yet digging deeper into the lived past and its relation to contemporary memory uncovers the fragility of brotherhood as well as competing ways to read Muslim-Jewish intimacy around music, some of which edge into rivalry, hierarchy, and difference. In More than Friends, Jonathan Glasser draws on historical archives and ethnographic research in Algeria and in France to weigh these multiple interpretations of the Muslim-Jewish past, ultimately offering an alternative, more resilient way of imagining what it means to be intimate through music.