Arnold van Gennep (1873-1957) was the first anthropologist to note the regularity and significance of the rituals attached to the transitional stages in man's life, and his phrase for these, "the rites of passage," has become a part of the language of anthropology and sociology.

    The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.

    It features the exceptional interiors of eight houses, discusses successes and challenges, and shows how to live stylishly. Tips are shared on color, flooring, window coverings, furniture arrangements, and how off-the-shelf components can be turned into custom features. The homeowners' stories explain why these rooms work, and provide you with resources and ideas for everything from garage doors to the art on the wall.

    This edition has been updated and includes a new preface.

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    The engaging articles on all key issues related to the anthropology of religion grab the attention of students, while giving them an excellent foundation in contemporary ideas and approaches in the field. The multiple authors included in each chapter represent a range of interests, geographic foci, and ways of looking at each subject. Divided into ten chapters, this book begins with a broad view of anthropological ways of looking at religion, and moves on to some of the core topics within the subject, such as myth, ritual, and the various types of religious specialists.

    By the time of his death in 1990 at the age of thirty-one, Haring's career had moved from underground New York to the most prestigious galleries and museums in the world. Here Keith Haring's story is told by those who knew him—and by the artist himself. He candidly reflects on all aspects of his life, including his approach to art, being gay, and how he came to terms with AIDS. John Gruen masterfully combines Haring's own words with the observations of those who knew him best, including art dealer Leo Castelli; Madonna; artists Roy Lichtenstein, Francesco Clemente, and Kenny Scharf; Claude Picasso; Timothy Leary; and William Burroughs, among others. Haring emerges as both a courageous and enigmatic personality—a champion of art for all people.

    Hailed by the New Society as the best book on male working class youth, this classic work, first published in 1977, has been translated into several foreign languages and remains the authority in ethnographical studies.

    She soon finds out, however, that the excellent pay is no recompense for the dark secret that lurks in the paint that magically made her glow in the dark. This is the story of brave Catherine Donohoe who takes on the might of a big corporation and became an early pioneer of social justice in the era between two world wars. Emotive and inspiring - this book will touch you like no other. It’s too late for me, but maybe it will help some of the others.~ Catherine Wolfe Donohue

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    He tells of the Nazi cult of the primeval German forest; the play of Christian and pagan myth in Bernini's Fountain of the Four Rivers; and the duel between a monumental sculptor and a feminist gadfly on the slopes of Mount Rushmore. The result is a triumphant work of history, naturalism, mythology, and art. "A work of great ambition and enormous intellectual scope...consistently provocative and revealing."--New York Times"Extraordinary...a summary cannot convey the riches of this book. It will absorb, instruct, and fascinate."--New York Review of Books

    As late as the 1960s, the Wari’ Indians of the western Amazonian rainforest ate the roasted flesh of their dead as an expression of compassion for the deceased and for his or her close relatives. By removing and transforming the corpse, which embodied ties between the living and the dead and was a focus of grief for the family of the deceased, Wari’ death rites helped the bereaved kin accept their loss and go on with their lives. Drawing on the recollections of Wari’ elders who participated in consuming the dead, this book presents one of the richest, most authoritative ethnographic accounts of funerary cannibalism ever recorded. Beth Conklin explores Wari’ conceptions of person, body, and spirit, as well as indigenous understandings of memory and emotion, to explain why the Wari’ felt that corpses must be destroyed and why they preferred cannibalism over cremation. Her findings challenge many commonly held beliefs about cannibalism and show why, in Wari’ terms, it was considered the most honorable and compassionate way of treating the dead.

    "Determined not to let the slightest detail" escape him or to leave unanswered the many questions prompted by his personal experiences, Clastres follows the Guayaki in their everyday lives.Now available for the first time in a stunningly beautiful translation by Paul Auster, Chronicle of the Guayaki Indians radically alters not only the Western academic conventions in which other cultures are thought but also the discipline of political anthropology itself.Chronicle of the Guayaki Indians was awarded the Alta Prize in nonfiction by the American Literary Translators Association.

    Beginning with the medieval antisemitism that put Jews beyond the pale of humanity, he traces the spread of racist thinking in the wake of European expansionism and the beginnings of the African slave trade. And he examines how the Enlightenment and nineteenth-century romantic nationalism created a new intellectual context for debates over slavery and Jewish emancipation.Fredrickson then makes the first sustained comparison between the color-coded racism of nineteenth-century America and the antisemitic racism that appeared in Germany around the same time. He finds similarity enough to justify the common label but also major differences in the nature and functions of the stereotypes invoked. The book concludes with a provocative account of the rise and decline of the twentieth century's overtly racist regimes--the Jim Crow South, Nazi Germany, and apartheid South Africa--in the context of world historical developments.This illuminating work is the first to treat racism across such a sweep of history and geography. It is distinguished not only by its original comparison of modern racism's two most significant varieties--white supremacy and antisemitism--but also by its eminent readability.

    In Studies in Iconology, the themes and concepts of Renaissance art are analysed and related to both classical and medieval tendencies.