Results by title

P Is for Philadelphia is a unique, alphabetic tour of the city and the region, illustrated by the area's public school children, who participated in a city-wide drawing contest. From A is for Athlete to Z is for Zoo, all of the city's rich history is explored. P Is for Philadelphia includes entries on William Penn's arrival and historic treaty with the Delaware Indians, the city's heritage as the cradle of American liberty, as well as its food, sports teams, neighborhoods, and festivals. This book will have the kind of impact on Philadelphia and the region that few children's books ever have. It belongs on the bedside tables of every child in the Delaware Valley and the bookshelves of every visitor.

Mesoamerican communities past and present are characterized by their strong inclination toward color and their expert use of the natural environment to create dyes and paints. In pre-Hispanic times, skin was among the preferred surfaces on which to apply coloring materials. Archaeological research and historical and iconographic evidence show that, in Mesoamerica, the human body—alive or dead—received various treatments and procedures for coloring it.

Painting the Skin brings together exciting research on painted skins in Mesoamerica. Chapters explore the materiality, uses, and cultural meanings of the colors applied to a multitude of skins, including bodies, codices made of hide and vegetal paper, and even building “skins.” Contributors offer physicochemical analysis and compare compositions, manufactures, and attached meanings of pigments and colorants across various social and symbolic contexts and registers. They also compare these Mesoamerican colors with those used in other ancient cultures from both the Old and New Worlds. This cross-cultural perspective reveals crucial similarities and differences in the way cultures have painted on skins of all types.

Examining color in Mesoamerica broadens understandings of Native religious systems and world views. Tracing the path of color use and meaning from pre-Columbian times to the present allows for the study of the preparation, meanings, social uses, and thousand-year origins of the coloring materials used by today’s Indigenous peoples.

Contributors:

María Isabel Álvarez Icaza Longoria
Christine Andraud
Bruno Giovanni Brunetti
David Buti
Davide Domenici
Élodie Dupey García
Tatiana Falcón Álvarez
Anne Genachte-Le Bail
Fabrice Goubard
Aymeric Histace
Patricia Horcajada Campos
Stephen Houston
Olivia Kindl
Bertrand Lavédrine
Linda R. Manzanilla Naim
Anne Michelin
Costanza Miliani
Virgina E. Miller
Sélim Natahi
Fabien Pottier
Patricia Quintana Owen
Franco D. Rossi
Antonio Sgamellotti
Vera Tiesler
Aurélie Tournié
María Luisa Vázquez de Ágredos Pascual
Cristina Vidal Lorenzo

This important volume rethinks the conventional parameters of Middle East studies through attention to popular cultural forms, producers, and communities of consumers. The volume has a broad historical scope, ranging from the late Ottoman period to the second Palestinian uprising, with a focus on cultural forms and processes in Israel, Palestine, and the refugee camps of the Arab Middle East. The contributors consider how Palestinian and Israeli popular culture influences and is influenced by political, economic, social, and historical processes in the region. At the same time, they follow the circulation of Palestinian and Israeli cultural commodities and imaginations across borders and checkpoints and within the global marketplace.

The volume is interdisciplinary, including the work of anthropologists, historians, sociologists, political scientists, ethnomusicologists, and Americanist and literary studies scholars. Contributors examine popular music of the Palestinian resistance, ethno-racial “passing” in Israeli cinema, Arab-Jewish rock, Euro-Israeli tourism to the Arab Middle East, Internet communities in the Palestinian diaspora, café culture in early-twentieth-century Jerusalem, and more. Together, they suggest new ways of conceptualizing Palestinian and Israeli political culture.

Contributors. Livia Alexander, Carol Bardenstein, Elliott Colla, Amy Horowitz, Laleh Khalili, Mary Layoun, Mark LeVine, Joseph Massad, Melani McAlister, Ilan Pappé, Rebecca L. Stein, Ted Swedenburg, Salim Tamari

This is a book about the politics of competing cultures and myths in a colonized nation. Elizabeth Buck considers the transformation of Hawaiian culture focusing on the indigenous population rather than on the colonizers. She describes how Hawaii's established religious, social, political, and economic relationships have changed in the past 200 years as a result of Western imperialism. Her account is particularly timely in light of the current Hawaiian demands for sovereignty 100 years after the overthrow of the monarchy in 1893.

Buck examines the social transformation Hawaii from a complex hierarchical, oral society to an American state dominated by corporate tourism and its myths of paradise. She pays particular attention to the ways contemporary Hawaiians are challenging the use of their traditions as the basis for exoticized entertainment.

Buck demonstrates that sacred chants and hula were an integral part of Hawaiian social life; as the repository of the people's historical memory, chants and hula practices played a vital role in maintaining the links between religious, political, and economic relationships. Tracing the ways in which Hawaiian culture has been variously suppressed and constructed by Western explorers, New England missionaries, the tourist industry, ethnomusicologists, and contemporary Hawaiians, Buck offers a fascinating "rereading" of Hawaiian history.

Stonemasons from the Alpine valleys of northwestern Italy shaped the architectural face of Paradise Valley in northern Nevada in the 1860s and 1870s. Drawing on their own distinctive skills, they constructed the constellation of granite and sandstone buildings that are the region's most visible landmarks. Marshall's analysis of this architectural legacy, illustrated with 229 photographs and 70 line drawings, is not only a valuable resource for scholars in vernacular architecture, folklore, and cultural geography, but also a verbal and visual treat for all who love the American West.

This suspenseful and moving memoir of Africa recounts the experiences of Alma Gottlieb, an anthropologist, and Philip Graham, a fiction writer, as they lived in two remote villages in the rain forest of Cote d'Ivoire. With an unusual coupling of first-person narratives, their alternate voices tell a story imbued with sweeping narrative power, humility, and gentle humor. Parallel Worlds is a unique look at Africa, anthropological fieldwork, and the artistic process.

"A remarkable look at a remote society [and] an engaging memoir that testifies to a loving partnership . . . compelling."—James Idema, Chicago Tribune

Winner of the 2019 Ohioana Book Award for Poetry 

Pardon My Heart is an exploration of love in the contemporary African American ethos. In this lyrically complex collection, the speakers and subjects—the adult descendants of the Great Migration—reckon with past experiences and revelatory, hard-earned ideas about race and class.

With a compelling blend of narrative, musicality, and imagery, Jackson’s poems span a multitude of scenes, landscapes, and sensations. Pardon My Heart examines intimacy, memory, grief, and festivity while seeking out new, reflective sectors within emotion and culture. By means of concise portraiture and sonic vibrancy, Jackson’s poems ultimately express the urgency and pliability of the human soul. 

 

Like. Share. Comment. Subscribe. Embed. Upload. Check in. The commands of the modern online world relentlessly prompt participation and encourage collaboration, connecting people in ways not possible even five years ago. This connectedness no doubt influences college writing courses in both form and content, creating possibilities for investigating new forms of writing and student participation. In this innovative volume, Sarah J. Arroyo argues for a “participatory composition,” inspired by the culture of online video sharing and framed by theorist Gregory Ulmer’s concept of electracy.

Electracy, according to Ulmer, “is to digital media what literacy is to alphabetic writing.” Although electracy can be compared to digital literacy, it is not something shut on and off with the power buttons on computers or mobile devices. Rather, electracy encompasses the cultural, institutional, pedagogical, and ideological implications inherent in the transition from a culture of print literacy to a culture saturated with electronic media, regardless of the presence of actual machines.

Arroyo explores the apparatus of electracy in many of its manifestations while focusing on the participatory practices found in online video culture, particularly on YouTube. Chapters are devoted to questions of subjectivity, definition, authorship, and pedagogy. Utilizing theory and incorporating practical examples from YouTube, classrooms, and other social sites, Arroyo presents accessible and practical approaches for writing instruction. Additionally, she outlines the concept of participatory composition by highlighting how it manifests in online video culture, offers student examples of engagement with the concept, and advocates participatory approaches throughout the book.

Arroyo presents accessible and practical possibilities for teaching and learning that will benefit scholars of rhetoric and composition, media studies, and anyone interested in the cultural and instructional implications of the digital age. 

The Yaqui of Mexico were early converts to Christianity in New Spain. Yet they came to be regarded with hostility by the newly emerging Mexican government. Many Yaquis fled Mexico in the early twentieth century and established a settlement in Arizona where they resumed a peaceful existence centered around their ceremonial calendar.

Edward Spicer devoted most of his professional career to the study of the Yaquis and came to be regarded as a leading authority on that tribe. At the inception of his forty years of research stands Pascua, a firsthand description of daily village life.

The first decades of the twentieth century were years of dramatic change in Zanzibar, a time when the social, economic, and political lives of island residents were in incredible flux, framed by the abolition of slavery, the introduction of colonialism, and a tide of urban migration. Pastimes and Politics explores the era from the perspective of the urban poor, highlighting the numerous and varied ways that recently freed slaves and other immigrants to town struggled to improve their individual and collective lives and to create a sense of community within this new environment. In this study Laura Fair explores a range of cultural and social practices that gave expression to slaves’ ideas of emancipation, as well as how such ideas and practices were gendered.

Pastimes and Politics examines the ways in which various cultural practices, including taarab music, dress, football, ethnicity, and sexuality, changed during the early twentieth century in relation to islanders’ changing social and political identities. Professor Fair argues that cultural changes were not merely reflections of social and political transformations. Rather, leisure and popular culture were critical practices through which the colonized and former slaves transformed themselves and the society in which they lived.

Methodologically innovative and clearly written, Pastimes and Politics is accessible to specialists and general readers alike. It is a book that should find wide use in courses on African history, urbanization, popular culture, gender studies, or emancipation.

Originally published in 1974, this second edition was published by Gnomon Press in 1997.Payne Hollow is a reflective and poetic memoir that details the simple, self-sufficient life Harlan Hubbard and his wife, Anna, led along the banks of the Ohio River in the 1950s–80s. After living on a shantyboat for eight years, the Hubbards crafted a custom home and studio at Payne Hollow, in Trimble County, Kentucky, where they lived off the land and embraced a lifestyle focused on nature, art, and solitude. The book, illustrated with Harlan’s own ink drawings, captures the couple’s philosophy of living in harmony with the natural world, free from the distractions and demands of modern society. Hubbard eloquently describes in words and images their daily routines, the changing seasons, and the deep satisfaction he and Anna found in their way of life. Through his writing, Hubbard rejoices in the return to simplicity and creates an appreciation for the living world, making Payne Hollow not just a memoir, but a model for building a deliberate, mindful life in tune with nature.

“In the fifties, sleek Mixmasters were replacing rusty eggbeaters, and new pressure-cookers blew their tops in kitchens all over town. There were kids everywhere, and new ‘ranch-style’ houses filled vacant lots. . . . Turquoise Studebakers and dusty-rose Chevy BelAirs with flamboyant fins and lots of chrome replaced dark pre-war cars. Cameras took color snapshots instead of black-and-white. We wore red canvas tennis shoes and lemon yellow shorts, and bright blue popsicles melted down our chins.” —from the Introduction

“[People of Pascua] sketches the history and culture of the Tucson area Yaqui and contains case studies of a number of the informants. What constituted ‘Yaquiness’ in Pascua was mainly a common language, a shared historical tradition, and an aberrant form of Catholic Christianity laced with Yaqui concepts. This clearly and concisely written book is very important in its own terms both as an early example of the use of life histories in ethnology and as a significant contribution to Yaqui studies.”—Choice
 

While it now attracts many tourists, the Colca Valley of Peru’s southern Andes was largely isolated from the outside world until the 1970s, when a passable road was built linking the valley—and its colonial churches, terraced hillsides, and deep canyon—to the city of Arequipa and its airport, eight hours away. Noble David Cook and his co-researcher Alexandra Parma Cook have been studying the Colca Valley since 1974, and this detailed ethnohistory reflects their decades-long engagement with the valley, its history, and its people. Drawing on unusually rich surviving documentary evidence, they explore the cultural transformations experienced by the first three generations of Indians and Europeans in the region following the Spanish conquest of the Incas.

Social structures, the domestic export and economies, and spiritual spheres within native Andean communities are key elements of analysis. Also highlighted is the persistence of duality in the Andean world: perceived dichotomies such as those between the coast and the highlands, Europeans and Indo-Peruvians. Even before the conquest, the Cabana and Collagua communities sharing the Colca Valley were divided according to kinship and location. The Incas, and then the Spanish, capitalized on these divisions, incorporating them into their state structure in order to administer the area more effectively, but Colca Valley peoples resisted total assimilation into either. Colca Valley communities have shown a remarkable tenacity in retaining their social, economic, and cultural practices while accommodating various assimilationist efforts over the centuries. Today’s population maintains similarities with their ancestors of more than five hundred years ago—in language, agricultural practices, daily rituals, familial relationships, and practices of reciprocity. They also retain links to ecological phenomena, including the volcanoes from which they believe they emerged and continue to venerate.

People of the Water is an ethnographic analysis of the cultural practices of the Uru-Chipayans—how they have maintained their culture and how they have changed. The Chipayans are an Andean people whose culture predates the time of the Incas (c. AD 1400), but they were almost wiped out by 1940, when only around 400 remained. Yet their population has quadrupled in the last 60 years. Joseph Bastien has spent decades living with and studying the Chipayans, and here for the first time he discusses the dynamics between traditional, social, and religious practices and the impending forces of modernity upon them. With the support of more than 100 illustrations he documents how, in spite of challenges, the Chipayans maintain ecological sustainability through an ecosystem approach that is holistic and symbolically embedded in rituals and customs.

Chipayans have a resilient and innovative culture, maintaining dress, language, hairstyle, rituals, and behavior while also re-­creating their culture from a dialectic between themselves and the world around them. Bastien provides the reader with a series of experienced observations and intimate details of a group of people who strive to maintain their ancient traditions while adapting to modern society. This ethnographic study offers insightful, surprising, and thoughtful conclusions applicable to interpreting the world around us.

In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire.

 

Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century.

 

Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.

In this elegant and sensitive look at the milieu of the World's Columbian Exposition of 1893, James Gilbert examines the three utopias that were designed to bring order to the chaos of urban life: The World's Fair itself, George Pullman's community for his workers, and Dwight Moody's evangelical crusade. Gilbert draws upon a rich selection of fiction, collective biography, architecture, photographs, and souvenir books to show how these experiments each acted as a middle-class prescription for coming to terms with the new cultural diversity and competition resulting from the disruptive forces of technological change, commercial enterprise, and pluralism.

"Mr. Gilbert's splendid book opens the door on a conflicted past, and provides an indispensable perspective on the troubled and troubling struggle we face today between old and new, unity and diversity."—Alan Trachtenberg, New York Times

"Perfect Cities is a remarkable account of a struggle for cultural definition. Chronicling the byplay between cultural homogeneity and heterogeneity, unity and diversity, James Gilbert not only throws light on Chicago's past but also provides insight that can be applied to the cultural debates of our own time."—Adria Bernardi, Chicago Tribune

"What Gilbert has done is to enable the reader to experience the grand utopian visions of the times, yet at the same time see the cantankerous reality that made the visions impossible."—Henry Kisor, Chicago Sun-Times

Visitors to Cuba will notice that Afro-Cuban figures and references are everywhere: in popular music and folklore shows, paintings and dolls of Santería saints in airport shops, and even restaurants with plantation themes. In Performing Afro-Cuba, Kristina Wirtz examines how the animation of Cuba’s colonial past and African heritage through such figures and performances not only reflects but also shapes the Cuban experience of Blackness. She also investigates how this process operates at different spatial and temporal scales—from the immediate present to the imagined past, from the barrio to the socialist state.
           
Wirtz analyzes a variety of performances and the ways they construct Cuban racial and historical imaginations. She offers a sophisticated view of performance as enacting diverse revolutionary ideals, religious notions, and racial identity politics, and she outlines how these concepts play out in the ongoing institutionalization of folklore as an official, even state-sponsored, category. Employing Bakhtin’s concept of “chronotopes”—the semiotic construction of space-time—she examines the roles of voice, temporality, embodiment, imagery, and memory in the racializing process. The result is a deftly balanced study that marries racial studies, performance studies, anthropology, and semiotics to explore the nature of race as a cultural sign, one that is always in process, always shifting.  

Commissioned by the Haggerty Museum of Art at Marquette University to create an artwork reflecting on the importance of freshwater, Milwaukee-based photographer Kevin J. Miyazaki embarked on a two-week, 1,800-mile drive around Lake Michigan. He traveled its perimeter, through Wisconsin, Illinois, Indiana, and Michigan, to produce what he calls “a contemporary portrait of Lake Michigan.” Miyazaki set up his portable studio on beaches, in parks, on boat docks, and in backyards, photographing those he met along the way. From residents, environmental scientists, and artists to a Native American water rights advocate, surfers, and commercial fishermen, Lake Michigan holds a powerful place in the life of each. Many shared their thoughts with him on why this body of water is important to all.
 
Miyazaki also photographed the water as he went, creating waterscapes of the ever-changing lake affected by weather and time. Perimeter gathers these images together, creating a diverse portrait of both people and a place, encapsulating Lake Michigan’s significance to those who are drawn to it.

At the close of 1952, Bettrand Russell wrote to Gwen Raverat that he had been reading Period Piece “with the very greatest delight.” Raverat’s memories of childhood and coming of age during the final years of Victoria’s reign capture a young woman’s impressions of dons, eccentrics, and tradespeople in Cambridge during the 1890s. With astonishing power Period Piece brings us into the real presence of the late Victorian past.
 

Originally published in 1982, James Clifford's analytical biography of Maurice Leenhardt (1878–1954)—missionary, anthropologist, founder of French Oceanic studies, historian of religion, and colonial reformer—received wide critical acclaim for its insight into the colonial history of anthropology. Drawing extensively on unpublished letters and journals, Clifford traces Leenhardt's life from his work as a missionary on the island of New Caledonia (1902–1926) to his subsequent return to Paris where he became an academic anthropologist at the École Practique des Hautes Études, where he followed Marcel Mauss and was succeeded in 1951 by Claude Lévi-Strauss. Clifford sees in Leenhardt's career a foreshadowing of contemporary anthropological concerns with reflexivity, cultural hybridity, and colonial and post-colonial entanglements.

Clay County, Arkansas, was a flatland with little improvements at the outset of the twentieth century. Into this primitive society came a St. Louis entrepreneur with a liking for agriculture. Paul Pfeiffer bought large tracts of land, set up tenant farmers, and reigned for nearly fifty years as a beneficent landlord. Laymon records the gratitude of many a family who remember with appreciation loans made to acquire equipment. When farming was interrupted by the coming of the railroad, both Pfeiffer and his tenants adapted to a lumbering economy—so long as the hardwood forest lasted. Interestingly, Laymon’s account includes the fate of tenants following the break-up of “Pfeiffer Country.”

A retrospective survey of Bruce Harkness’s striking social documentary photographs and an invaluable historical record that bears witness to irrevocably lost swaths of Detroit’s social and urban fabric.

In 1980, the cities of Detroit and Hamtramck, Michigan, exercised eminent domain to develop nearly five hundred acres of land for a new industrial park and General Motors assembly plant. But the land was not vacant. Some thirty-five hundred people lived there in Poletown—some of them for their entire lives. They attended neighborhood schools and churches, worked for and patronized small businesses, walked the sidewalks, drove the streets, and tended to lawns and gardens. Harkness began photographing the area in February 1981. He recorded street scenes, intersections, panoramic views, homes, businesses, churches, and people. Ten months, ninety visits, and six hundred photographs later, it all disappeared forever.

The Poletown series established Harkness as a major Detroit documentarian. It came on the heels of late-1970s projects located in and around the city’s skid row: Cass Corridor. The images include gritty streetscapes, a portrait series depicting residents living in a crumbling apartment building, and the lively cultural milieu of a local gay and transgender bar. Most of this old portion of inner-city Detroit since has been supplanted by urban redevelopment and gentrification.

During the late 1980s, Harkness collaborated with urban historian John J. Bukowczyk on a major documentary project, Urban Interiors. While the Poletown project had documented the exteriors of buildings and streetscapes on Detroit’s East Side, Urban Interiors captured the insides of inner-city Detroit homes and businesses and included extended oral history interviews.

While Harkness has always found human dignity and resilience in his subjects, the tone of his work brightened in the 1990s alongside Detroit’s revival. Photographs from this era include blues musicians performing in clubs and at outdoor concerts and the distinctive, robust youth culture that flourished in Dearborn’s now-defunct Zone Coffee House.

Featuring images from these and other projects, Photographs from Detroit, 1975–2019 includes Harkness’s extensive notes, which describe and contextualize the encounters he shared with the people and places he photographed, and offer insight into his working methods and equipment. The volume and quality of Harkness’s work merits him recognition as one of Detroit’s most important documentary photographers during this pivotal, transitional era in the city’s history.

Harkness’s images depict the struggles and resilience of ordinary individuals and families in working-class communities who together have indelibly shaped the spirit of Detroit. This book is a must-have for Detroiters past and present as well as historians, anthropologists, social documentary advocates, and photobook collectors everywhere.

In 1912, Shoki Kayamori and his box camera arrived in a small Tlingit village in southeast Alaska. At a time when Asian immigrants were forbidden to own property and faced intense racial pressure, the Japanese-born Kayamori put down roots and became part of the Yakutat community. For three decades he photographed daily life in the village, turning his lens on locals and migrants alike, and gaining the nickname “Picture Man.” But as World War II drew near, his passion for photography turned dangerous, as government officials called out Kayamori as a potential spy. Despondent, Kayamori committed suicide, leaving behind an enigmatic photographic legacy.
In Picture Man, Margaret Thomas views Kayamori’s life through multiple lenses. Using Kayamori’s original photos, she explores the economic and political realities that sent Kayamori and thousands like him out of Japan toward opportunity and adventure in the United States, especially the Pacific Northwest. She reveals the tensions around Asian immigrants on the West Coast and the racism that sent many young men north to work in the canneries of Alaska. And she illuminates the intersecting—and at times conflicting—lives of villagers and migrants in a time of enormous change. Part history, part biography, part photographic showcase, Picture Man offers a fascinating new view of Alaska history.

Nearly a century ago, hundreds of families journeyed from Spain to the United States, to search for a better life in the growing zinc-industry towns of Harrison County, West Virginia. As they created a new culture and a new home in this strange land, they added another thread to the rich fabric of our nation. Writing from his perspective as a first-generation son of this immigrant community, González recounts his childhood memories of his neighborhood, where these immigrants raised their families, worked in the often insufferable conditions of the zinc factories, and celebrated "romerias" and feast days with their neighbors.

Alaska has always attracted people from varied backgrounds. In A Place of Belonging, Phyllis Movius introduces us to five women who settled in Fairbanks between 1903 and 1923 and who typify the disparate population that has long enriched Alaska. The women’s daily lives and personal stories are woven together in these biographical portraits, drawn from the women’s letters, memoirs, personal papers, club records, their own oral histories and published writings. Enriched by many never-before-published historical photos, Movius’s research gives us a unique inroad into life on the frontier.

Plain Folk depicts both the ordinary occupations and ethnic and racial diversity of America at the turn of the century. Katzman and Tuttle have drawn upon 75 brief autobiographies or "lifelets" of working-class Americans published between 1902 and 1906 in The Independent magazine. Among the seventeen life stories included here are those of a Lithuanian stockyards worker in Chicago, a Polish sweatshop girl and a Chinese merchant in New York City, a black peon in rural Georgia, and a Swedish farmer in Minnesota. Together they provide an unmediated and seldom-seen view of American life during this period.
 

Plains villagers had a well-developed life way of intensive horticulture, bison hunting, and residence in substantial timber houses. This volume documents how Plains village culture emerged as a widespread and cohesive cultural adaptation from its roots in late Plains woodland cultures, as well as how it was repeatedly altered by internal and external forces. It addresses the historical emergence of these peoples, greatly transformed and decimated as the Wichitas, Omaha, Pawnees, Arikaras, Mandans, and Hidatsas.

This volume presents a cross section of current research about the origins and internal developments of prehistoric Plains village people in the Central and Northern Plains.

An intimate look into three Victorian photo-settings, Pleasures Taken considers questions of loss and sexuality as they are raised by some of the most compelling and often misrepresented photographs of the era: Lewis Carroll’s photographs of young girls; Julia Margaret Cameron’s photographs of Madonnas; and the photographs of Hannah Cullwick, a "maid of all work," who had herself pictured in a range of masquerades, from a blackened chimney sweep to a bare-chested Magdalene. Reading these settings performatively, Carol Mavor shifts the focus toward the subjectivity of these girls and women, and toward herself as a writer.
Mavor’s original approach to these photographs emphatically sees sexuality where it has been previously rendered invisible. She insists that the sexuality of the girls in Carroll’s pictures is not only present, but deserves recognition, respect, and scrutiny. Similarly, she sees in Cameron’s photographs of sensual Madonnas surprising visions of motherhood that outstrip both Victorian and contemporary understandings of the maternal as untouchable and inviolate, without sexuality. Finally she shows how Hannah Cullwick, posing in various masquerades for her secret paramour, emerges as a subject with desires rather than simply a victim of her upper-class partner. Even when confronting the darker areas of these photographs, Mavor perseveres in her insistence on the pleasures taken—by the viewer, the photographer, and often by the model herself—in the act of imagining these sexualities. Inspired by Roland Barthes, and drawing on other theorists such as Julia Kristeva and Luce Irigaray, Mavor creates a text that is at once interdisciplinary, personal, and profoundly pleasurable.

Plundered Kitchens, Empty Wombs examines the symbolic language of food, fertility, and infertility in a small, mountainous African kingdom to explore more general notions of gender, modernity, and cultural identity.
In the Cameroon grassfields, an area of high fertility, women hold a paradoxical fear of infertility. By combining symbolic, political-economic, and historical analyses, Pamela Feldman-Savelsberg traces the way reproductive threat is invoked in struggles over gender and ethnic identities. Women's fears of reproductive disorders, she finds, are an important mode of expression for their worries about much larger issues, such as rural poverty, brought about or exacerbated by political and economic changes in this century.
A lively case study of an infertile queen who flees the palace sets the stage for discussions of the ethnographic and historical setting, the symbolism of fertility and infertility, and the development and interaction of cosmopolitan and ethno-gynecologies. The book concludes with an analysis of the links between women's role in human reproduction and the divine king's role in social reproduction, both occurring in the rapidly changing context of a multiethnic African nation.
Plundered Kitchens, Empty Wombs underscores the relevance of medical anthropology to other anthropological specializations, as well as to epidemiologists, population specialists, and development planners. It should reach a broad audience in medical anthropology, public health, and women's studies.
Pamela Feldman-Savelsberg is Assistant Professor of Anthropology, Carleton College.