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This dramatic and controversial new interpretation of Cahokian leadership strategies examines the authority a ruling elite exercised over the surrounding countryside through a complex of social, political, and religious symbolism.
This study uses the theoretical concepts of agency, power, and ideology to explore the development of cultural complexity within the hierarchically organized Cahokia Middle Mississippian society of the American Bottom from the 11th to the 13th centuries. By scrutinizing the available archaeological settlement and symbolic evidence, Emerson demonstrates that many sites previously identified as farmsteads were actually nodal centers with specialized political, religious, and economic functions integrated into a centralized administrative organization. These centers consolidated the symbolism of such 'artifacts of power' as figurines, ritual vessels, and sacred plants into a rural cult that marked the expropriation of the cosmos as part of the increasing power of the Cahokian rulers.
During the height of Cahokian centralized power, it is argued, the elites had convinced their subjects that they ruled both the physical and the
spiritual worlds. Emerson concludes that Cahokian complexity differs significantly in degree and form from previously studied Eastern Woodlands chiefdoms and opens new discussion about the role of rural support for the Cahokian ceremonial center.
A Dan Josselyn Memorial Publication
This edition of Moorehead's excavations at Cahokia provides a comprehensive collection of Moorehead's investigations of the nation's largest prehistoric mound center.
Covering almost fourteen square kilometers in Illinois, Cahokia Mounds State Historic Site is the largest prehistoric mound center in North America and has been designated a World Heritage Site by the United Nations. Built between A.D. 1050 and 1350, Cahokia originally contained the remains of over 100 earthen mounds that were used as places for Native American rituals, homes of chiefs, or elite tombs. Earlier scientists debated whether the mounds were part of the natural landscape, and many were destroyed by urban and industrial development
This book is a report of archaeological investigations conducted at Cahokia from 1921 to 1927 by Warren K. Moorehead, who confirmed that the mounds were built by indigenous peoples and who worked to assure preservation of the site. The volume includes Moorehead's final 1929 report along with portions of two preliminary reports, covering both Cahokia and several surrounding mound groups.
John Kelly's introduction to the book sets Moorehead's investigations in the context of other work conducted at Cahokia prior to the 1920s and afterwards. Kelly reviews Moorehead's work, which employed 19th-century excavation techniques combined with contemporary analytical methods, and explains how Moorehead contended with local social and political pressures.
Moorehead's work represented important excavations at a time when little other similar work was being done in the Midwest. The reissue of his findings gives us a glimpse into an important archaeological effort and helps us better appreciate the prehistoric legacy that he helped preserve.
Youth Music in Contemporary Egypt
Cairo Pop is the first book to examine the dominant popular music of Egypt, shababiyya. Scorned or ignored by scholars and older Egyptians alike, shababiyya plays incessantly in Cairo, even while Egyptian youth joined in mass protests against their government, which eventually helped oust longtime Egyptian president Hosni Mubarak in early 2011. Living in Cairo at the time of the revolution, Daniel Gilman saw, and more importantly heard, the impact that popular music can have on culture and politics. Here he contributes a richly ethnographic analysis of the relationship between mass-mediated popular music, modernity, and nationalism in the Arab world.
Before Cairo Pop, most scholarship on the popular music of Egypt focused on musiqa al-ṭarab. Immensely popular in the 1950s and ’60s and even into the ’70s, musiqa al-ṭarab adheres to Arabic musical theory, with non-Western scales based on tunings of the strings of the ‘ud—the lute that features prominently, nearly ubiquitously, in Arabic music. However, today one in five Egyptians is between the ages of 15 and 24; half the population is under the age of 25. And shababiyya is their music of choice. By speaking informally with dozens of everyday young people in Cairo, Gilman comes to understand shababiyya as more than just a musical genre: sometimes it is for dancing or seduction, other times it propels social activism, at others it is simply sonic junk food.
In addition to providing a clear Egyptian musical history as well as a succinct modern political history of the nation, Cairo Pop elevates the aural and visual aesthetic of shababiyya—and its role in the lives of a nation’s youth.
A Memoir of America in Post-World War I Germany
Major General Johnson Hagood (1873–1948) was one of South Carolina's most distinguished army officers of the twentieth century. An artillerist and a scholar of military science, Hagood became a noted expert in logistics and served as the chief of staff of the Services of Supply in World War I Europe. Taken from Hagood's wartime journal, Caissons Go Rolling Along describes his artillery brigade's march into Germany in 1918, the wartime devastation, his impressions of the defeated enemy and occupied territories, and his tour of the recent battlefields in the company of the commanders who fought there. Written in a conversational style, the narrative focuses principally on Hagood's time in command of the Sixty-sixth Field Artillery Brigade following the armistice. The Sixty-sixth FAB was attached to the American Third Army, which later became the American occupation force in the Rhineland. Hagood recorded his impressions of the conditions in which he found his men at the end of the war and the events of a tour of the French, British, and American battlefields. More important, he set down a record of the devastation of the French countryside, the contrasting lack of suffering he found in Germany, the character of the Germans, and some predictions for the future. "I have left the text as it was when we held these people at the point of the bayonet," he wrote in his preface years later. "The opinions we formed at that time are important because they were the basis of our action. . . . The scourge of the Great War took a heavy toll . . . and we Americans might as well keep in mind what we were fighting for." Hagood captures defining aspects of the American character at the close of World War I. He described a boisterous, optimistic people, sure of their new place in the world. Rome provided Hagood with an analogy for the new American empire, which he took for granted in his postwar memoir. Completed during Hagood's lifetime but unpublished until now, Caissons Go Rolling Along is an engrossing portrait of war-torn Europe, a stark reminder of grim realities of the Great War, and a richly detailed look at the daunting task of occupying and rebuilding a defeated nation.
Modern Pleasures in a Postmodern World
Queen Ida. Danny Poullard. Documentary filmmaker Les Blank. Chris Strachwitz and Arhoolie Records. These are names that are familiar to many fans of Cajun music and zydeco, and they have one other thing in common--longtime residence in the San Francisco Bay Area. They are all part of a vibrant scene of dancing and live Louisiana-French music that has evolved over several decades. Cajun and Zydeco Dance Music in Northern California traces how this region of California has been able to develop and sustain dances several times a week with more than a dozen bands. Description of this active regional scene opens into a discussion of several historical trends that have affected life and music in Louisiana and the nation. The book portrays the diversity of people who have come together to adopt Cajun and Creole dance music as a way to cope with a globalized, media-saturated world. Ethnomusicologist Mark F. DeWitt innovatively weaves together interviews with musicians and dancers (some from Louisiana, some not), analysis of popular media, participant observation as a musician and dancer, and historical perspectives from wartime black migration patterns, the civil rights movement, American folk and blues revivals, California counterculture, and the rise of cultural tourism in "Cajun Country." In so doing, he reveals the multifaceted appeal of celebrating life on the dance floor, Louisiana-French style.
Cajun food has become a popular "ethnic" food throughout America during the last decade. This fascinating book explores the significance of Cajun cookery on its home turf in south Louisiana, a region marked by startling juxtapositions of the new and the old, the nationally standard and the locally unique.
Neither a cookbook nor a restaurant guide, Cajun Foodways gives interpretation to the meaning of traditional Cajun food from the perspective of folklife studies and cultural anthropology. The author takes into account the modern regional popular culture in examining traditional foodways of the Cajuns.
Cajuns' attention to their own traditional foodways is more than merely nostalgia or a clever marketing ploy to lure tourists and sell local products. The symbolic power of Cajun food is deeply rooted in Cajuns' ethnic identity, especially their attachments to their natural environment and their love of being with people.
Foodways are an effective symbol for what it means to be a Cajun today. The reader interested in food and in cooking will find much appeal in this book, for it illustrates a new way to think about how and why people eat as they do.
Americanization of a People
History -- Southern Studies--> The past sixty years have shaped and reshaped the group of French-speaking Louisiana people known as the Cajuns. During this period they have become much like other Americans and yet have remained strikingly distinct. The Cajuns: Americanization of a People explores these six decades and analyzes the forces that had an impact on Louisiana's Acadiana. In the 1940s, when America entered World War II, so too did the isolated Cajuns. Cajun soldiers fought alongside troops from Brooklyn and Berkeley and absorbed aspects of new cultures. In the 1950s as rock 'n' roll and television crackled across Louisiana airwaves, Cajun music makers responded with their own distinct versions. In the 1960s, empowerment and liberation movements turned the South upside down. During the 1980s, as things Cajun became an absorbing national fad, "Cajun" became a kind of brand identity used for selling everything from swamp tours to boxed rice dinners. At the dawn of the twenty-first century, the advent of a new information age launched "Cyber-Cajuns" onto a worldwide web. All these forces have pushed and pulled at the fabric of Cajun life but have not destroyed it. A Cajun himself, the author of this book has an intense personal fascination in his people. By linking seemingly local events in the Cajuns' once isolated south Louisiana homeland to national and even global events, Bernard demonstrates that by the middle of the twentieth century the Cajuns for the first time in their ethnic story were engulfed in the currents of mainstream American life and yet continued to make outstandingly distinct contributions. Shane K. Bernard serves as historian and curator to McIlhenny Company, maker of Tabasco brand products since 1868, and Avery Island, Inc. He is the author of Swamp Pop: Cajun and Creole Rhythm and Blues (University Press of Mississippi). His work has been published in such periodicals as Louisiana History, Louisiana Folklife, Louisiana Cultural Vistas, and the New Orleans Times-Picayune.
Reality has begun to show its age. Have you noticed? Joe has. Calamity Joe is the pen name of the mysterious narrator in a new kind of poetry collection. Spending his days in a lab, talking to mice & microbes, he will soon be the last living member of his family. More and more, life seems to hint at its syntax, and Joe feels that he can just make out the page he inhabits. Drastic measures are called for, but for what? Poet Brendan Constantine hasn’t crafted another novel in verse, but a secret life revealed by poetry. Open it anywhere and be rewarded with poems that stand alone; read it from the beginning and discover the deeper context that ties every image together. As with his previous collections, Constantine employs countless approaches to poetry and no single style dominates. Looking through Joe’s eyes, we understand that life has no single story, that love is not a single feeling, and that consciousness may be an act of sheer will.