They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans — black and white, Latino and Native American, men and women, officers and “grunts” — whose personal reflections drive the book’s narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also “solo” pieces by veterans whose writings have shaped our understanding of the war — Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers — as well as songwriters and performers whose music influenced soldiers’ lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories — individual and cultural — that capture a central if often overlooked component of the American war in Vietnam.

    Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin. He moves seamlessly from literary criticism to autobiography to philosophical-theological speculations, cementing his reputation as one of the greatest and most versatile writers of the twentieth century. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times.

    Turnbull, the celebrated author of the classic 'The Forest People', describes the dehumanization of the Ik, African tribesmen who in less than three generations have deteriorated from being once-prosperous hunters to scattered bands of hostile, starving people whose only goal is individual survival.

    D&D captured the attention of a small but influential group of players, many of whom also gravitated to the computer networks that were then appearing on college campuses around the globe. With the subsequent emergence of the personal computer, a generation of geeky storytellers arose that translated communal D&D playing experiences into the virtual world of computer games. The result of that 40-year journey is today's massive global community of players who, through games, have forged very real friendships and built thriving lives in virtual worlds. Dungeons & Dreamers follows the designers, developers, and players who built the virtual games and communities that define today's digital entertainment landscape and explores the nature of what it means to live and thrive in virtual communities.

    Now a distinguished scholar offers the first comprehensive account of the evolutionary origins of art and storytelling. Brian Boyd explains why we tell stories, how our minds are shaped to understand them, and what difference an evolutionary understanding of human nature makes to stories we love.Art is a specifically human adaptation, Boyd argues. It offers tangible advantages for human survival, and it derives from play, itself an adaptation widespread among more intelligent animals. More particularly, our fondness for storytelling has sharpened social cognition, encouraged cooperation, and fostered creativity.After considering art as adaptation, Boyd examines Homer's "Odyssey" and Dr. Seuss's "Horton Hears a Who!" demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. What triggers our emotional engagement with these works? What patterns facilitate our responses? The need to hold an audience's attention, Boyd underscores, is the fundamental problem facing all storytellers. Enduring artists arrive at solutions that appeal to cognitive universals: an insight out of step with contemporary criticism, which obscures both the individual and universal. Published for the bicentenary of Darwin's birth and the 150th anniversary of the publication of "Origin of Species, " Boyd's study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    This powerful and provocative book draws from a wide range of disciplines—from anthropology to psychoanalysis, from film and fiction to literary theory—to explore these profound changes in our understanding of self-identity and their implications for cultural and intellectual life.

    In this third edition of Cultural Resource Laws and Practice, Thomas F. King presents clear, practical information for those who need to navigate the labyrinth of cultural resource management (CRM). He discusses the various federal, state, and local laws governing the protection of resources, how they have been interpreted, how they operate in practice, and even how they are sometimes in contradiction with each other. He provides helpful advice on how to ensure regulatory compliance in dealing with archaeological sites, historic buildings, urban districts, sacred sites and objects, shipwrecks, and archives. King also offers careful guidance through the confusing array of federal, state, and tribal offices concerned with cultural resource management.

    Norbert Wiener's classic is one in that small company. Founder of the science of cybernetics—the study of the relationship between computers and the human nervous system—Wiener was widely misunderstood as one who advocated the automation of human life. As this book reveals, his vision was much more complex and interesting. He hoped that machines would release people from relentless and repetitive drudgery in order to achieve more creative pursuits. At the same time he realized the danger of dehumanizing and displacement. His book examines the implications of cybernetics for education, law, language, science, technology, as he anticipates the enormous impact—in effect, a third industrial revolution—that the computer has had on our lives.

    Over time, eight key technologies gradually freed us from the limitations of our animal origins.The fabrication of weapons, the mastery of fire, and the technologies of clothing and shelter radically restructured the human body, enabling us to walk upright, shed our body hair, and migrate out of tropical Africa. Symbolic communication transformed human evolution from a slow biological process into a fast cultural process. The invention of agriculture revolutionized the relationship between humanity and the environment, and the technologies of interaction led to the birth of civilization. Precision machinery spawned the industrial revolution and the rise of nation-states; and in the next metamorphosis, digital technologies may well unite all of humanity for the benefit of future generations.Synthesizing the findings of primatology, paleontology, archeology, history, and anthropology, Richard Currier reinterprets and retells the modern narrative of human evolution that began with the discovery of Lucy and other Australopithecus fossils. But the same forces that allowed us to integrate technology into every aspect of our daily lives have also brought us to the brink of planetary catastrophe. Unbound explains both how we got here and how human society must be transformed again to achieve a sustainable future.Technology: “The deliberate modification of any natural object or substance with forethought to achieve a specific end or to serve a specific purpose.”

    An archaeological and linguistic monograph on the origins and expansion of the Indo-European

    Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted."Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production.Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.

    Along the way, Stevenson troubles our commonsense understanding of what life is and what it means to care for the life of another. Through close attention to the images in which we think and dream and through which we understand the world, Stevenson describes a world in which life is beside itself: the name-soul of a teenager who dies in a crash lives again in his friend’s newborn baby, a young girl shares a last smoke with a dead friend in a dream, and the possessed hands of a clock spin uncontrollably over its face. In these contexts, humanitarian policies make little sense because they attempt to save lives by merely keeping a body alive. For the Inuit, and perhaps for all of us, life is "somewhere else," and the task is to articulate forms of care for others that are adequate to that truth.

    Here, finally, it is brought to English-language readers. At its heart is a question central to both anthropology and philosophy: what is the relationship between nature and culture?Culture—as a collective human making, of art, language, and so forth—is often seen as essentially different from nature, which is portrayed as a collective of the nonhuman world, of plants, animals, geology, and natural forces. Descola shows this essential difference to be, however, not only a specifically Western notion, but also a very recent one. Drawing on ethnographic examples from around the world and theoretical understandings from cognitive science, structural analysis, and phenomenology, he formulates a sophisticated new framework, the “four ontologies”— animism, totemism, naturalism, and analogism—to account for all the ways we relate ourselves to nature. By thinking beyond nature and culture as a simple dichotomy, Descola offers nothing short of a fundamental reformulation by which anthropologists and philosophers can see the world afresh.