Cover

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Frontmatter

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Contents

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pp. 8-10

Acknowledgments

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pp. 11-11

Introduction

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pp. 12-19

PART ONE. General Studies

Chapter One. Regional Approaches to Iconographic Art by George E. Lankford

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pp. 22-36

Chapter Two. The Cosmology of the Osage: The Star People and Their Universe by James R. Duncan

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pp. 37-53

PART TWO. Regional Studies: Middle Mississippi Valley

Chapter Three. The Regional Culture Signature of the Braden Art Style by James A. Brown

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pp. 56-82

Chapter Four. Early Manifestations of Mississippian Iconography in Middle Mississippi Valley Rock-Art by Carol Diaz-Granados

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pp. 83-115

PART THREE. Regional Studies: Lower Mississippi Valley

Chapter Five. Mississippian Ceramic Art in the Lower Mississippi Valley: A Thematic Overview by David H. Dye

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pp. 118-136

Chapter Six. The Great Serpent in the Lower Mississippi Valley by F. Kent Reilly III

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pp. 137-153

PART FOUR. Regional Studies: Cumberland Valley

Chapter Seven. Iconography of the Thruston Tablet by Vincas P. Steponaitis, Vernon James Knight, Jr., George E. Lankford, Robert V. Sharp, and David H. Dye

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pp. 156-195

Chapter Eight. Woman in the Patterned Shawl: Female Effigy Vessels and Figurines from the Middle Cumberland River Basin by Robert V. Sharp, Vernon James Knight, Jr., and George E. Lankford

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pp. 196-217

PART FIVE. Regional Studies: Moundville

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Chapter Nine. A Redefinition of the Hemphill Style in Mississippian Art by Vernon James Knight, Jr., and Vincas P. Steponaitis

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pp. 220-258

Moundville has long been central to discussions of the Mississippian artistic florescence. Together with Etowah and Spiro, Moundville was once routinely included as one of the “big three” primary centers contributing to the South-eastern nulleremonial nullomplenull a concept that emphasinulld unity in Mississip-pian art and belief. nulln recent years, though, as individual site histories have ...

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Chapter Ten. The Raptor on the Path by George E. Lankford

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pp. 259-269

Several frenullently encountered images from Mississippian iconography are illustrations drawn from the widespread mythology of the progress of the soul after death. That argument has been presented in earlier articles on the “nullath of Souls” and the “nulleat Serpent,” in which the familiar images of the winged serpent, the hand-and-eye, the snullull, and the bone were identinulld as ...

Chapter Eleven. The Swirl-Cross and the Center by George E. Lankford

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pp. 270-295

PART SIX. Regional Studies: Etowah and Upper Tennessee Valley

Chapter Twelve. Iconography of the Hightower Region of Eastern Tennessee and Northern Georgia by Adam King

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pp. 298-312

Chapter Thirteen. Dancing in the Otherworld: The Human Figural Art of the Hightower Style Revisited by F. Kent Reilly III and James F. Garber

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pp. 313-331

Chapter Fourteen. Raptor Imagery at Etowah: The Raptor Is the Path to Power by Adam King and F. Kent Reilly III

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pp. 332-339

Bibliography

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pp. 340-365

Contributors

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pp. 366-367

Index

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pp. 368-377