For poets, priests, and politicians--and especially ordinary Germans--in the nineteenth and twentieth centuries, the image of the loving nuclear family gathered around the Christmas tree symbolized the unity of the nation at large. German Christmas was supposedly organic, a product of the winter solstice rituals of pagan Teutonic tribes, the celebration of the birth of Jesus, and the age-old customs that defined German character. Yet, as Joe Perry argues, Germans also used these annual celebrations to contest the deepest values that held the German community together: faith, family, and love, certainly, but also civic responsibility, material prosperity, and national belonging.

Among the many Indiana artists who have settled in Brown County, the potters of Nashville make up a distinctive group. Clay Times Three showcases industrious potters, decorators, and shop owners who have made their living in the area. Focusing on three potteries -- Brown County Pottery, Martz Potteries, and Brown County Hills Pottery -- the book presents local artists and their work from the Great Depression to the 1980s. Among the artists featured are Karl Martz, Becky Brown Martz, Helen and Walter Griffiths, and Claude Graham. The book is lavishly illustrated with photographs of individual pieces, including historical images by famed Nashville photographer Frank Hohenberger. Pottery collectors everywhere will relish this delightful volume.

This second edition is not only revised but also greatly expanded, and has much new information, including material never before printed and unavailable elsewhere. In 1,750 individual articles and as many more sub-sections The Companion gives A-Z coverage of song, dance, instruments, bands, storytelling, technology, tunes and style, composition, organisations and promotion, education and transmission, collectors and archives, revival, broadcasting and recording, English, Scottish and Welsh music and song, and music in all Irish counties, Europe and the USA. This commentary and analysis is linked to an historical timeline which spans three millennia, and a publications listing that covers three centuries. Six hundred biographies detail the human endeavour of the field, documenting significant musicians, commentators, historians, promoters and composers, and extended entries cover major themes such as song, dance, education and the elements of style.

Told in an elegant style, Jean de la Fontaines (1621-95) charming animal fables depict sly foxes and scheming cats, vain birds and greedy wolves, all of which subtly express his penetrating insights into French society and the beasts found in all of us. Norman R. Shapiro has been translating La Fontaines fables for over twenty years, capturing the original works lively mix of plain and archaic language. _x000B__x000B_This newly complete translation is destined to set the English standard for this work._x000B_

Since the mid-1980s, whimsical, brightly colored wood carvings from the Mexican state of Oaxaca have found their way into gift shops and private homes across the United States and Europe, as Western consumers seek to connect with the authenticity and tradition represented by indigenous folk arts. Ironically, however, the Oaxacan wood carvings are not a traditional folk art. Invented in the mid-twentieth century by non-Indian Mexican artisans for the tourist market, their appeal flows as much from intercultural miscommunication as from their intrinsic artistic merit. In this beautifully illustrated book, Michael Chibnik offers the first in-depth look at the international trade in Oaxacan wood carvings, including their history, production, marketing, and cultural representations. Drawing on interviews he conducted in the carving communities and among wholesalers, retailers, and consumers, he follows the entire production and consumption cycle, from the harvesting of copal wood to the final purchase of the finished piece. Along the way, he describes how and why this "invented tradition" has been promoted as a "Zapotec Indian" craft and explores its similarities with other local crafts with longer histories. He also fully discusses the effects on local communities of participating in the global market, concluding that the trade in Oaxacan wood carvings is an almost paradigmatic case study of globalization.

Global in scope and multidisciplinary in approach, Creolization as Cultural Creativity explores the expressive forms and performances that come into being when cultures encounter one another. Creolization is presented as a powerful marker of identity in the postcolonial creole societies of Latin America, the Caribbean, and the southwest Indian Ocean region, as well as a universal process that can occur anywhere cultures come into contact.

An extraordinary number of cultures from Haiti, Martinique, Guadeloupe, the southern United States, Trinidad and Tobago, Madagascar, Mauritius, Seychelles, Réunion, Puerto Rico, Argentina, Suriname, Jamaica, and Sierra Leone are discussed in these essays.

Drawing from the disciplines of folklore, anthropology, ethnomusicology, literary studies, history, and material culture studies, essayists address theoretical dimensions of creolization and present in-depth field studies. Topics include adaptations of the Gombe drum over the course of its migration from Jamaica to West Africa; uses of "ritual piracy" involved in the appropriation of Catholic symbols by Puerto Rican brujos; the subversion of official culture and authority through playful and combative use of "creole talk" in Argentine literature and verbal arts; the mislabeling and trivialization ("toy blindness") of objects appropriated by African Americans in the American South; the strategic use of creole techniques among storytellers within the islands of the Indian Ocean; and the creolized character of New Orleans and its music. In the introductory essay the editors address both local and universal dimensions of creolization and argue for the centrality of its expressive manifestations for creolization scholarship.

The first systematic approach to the parallels between fairy-tale retellings and fairy-tale theory.

Originating in the 1968 student-led strike at San Francisco State University, Asian American Studies was founded as a result of student and community protests that sought to make education more accessible and relevant. While members of the Asian American communities initially served on the departmental advisory boards, planning and developing areas of the curriculum, university pressures eventually dictated their expulsion. At that moment in history, the intellectual work of the field was split off from its relation to the community at large, giving rise to the entire problematic of representation in the academic sphere.

Even as the original objectives of the field have remained elusive, Asian American studies has nevertheless managed to establish itself in the university. Mark Chiang argues that the fundamental precondition of institutionalization within the university is the production of cultural capital, and that in the case of Asian American Studies (as well as other fields of minority studies), the accumulation of cultural capital has come primarily from the conversion of political capital. In this way, the definition of cultural capital becomes the primary terrain of political struggle in the university, and outlines the very conditions of possibility for political work within the academy. Beginning with the theoretical debates over identity politics and cultural nationalism, and working through the origins of ethnic studies in the Third World Strike, the formation of the Asian American literary field, and the Blu's Hanging controversy, The Cultural Capital of Asian American Studies articulates a new and innovative model of cultural and academic politics, illuminating the position of ethnic studies within the American university.