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New Approaches to Understanding an Ancient Maya Manuscript
“The Madrid Codex offers a new and nuanced understanding of one of the few surviving Maya hieroglyphic books, a porthole into the ancient Maya mind and a poignant reminder of how much was in a world now lost. [It is] a barrage of scholarship from leading scholars in everything from iconography to archaeoastronomy. . . . The Madrid Codex, on the basis of the impressive scholarship in every chapter of this book, now takes its place as a crucial document of this cultural ferment and fusion." —Antiquity
This volume offers new calendrical models and methodologies for reading, dating, and interpreting the general significance of the Madrid Codex. The longest of the surviving Maya codices, this manuscript includes texts and images painted by scribes conversant in Maya hieroglyphic writing, a written means of communication practiced by Maya elites from the second to the fifteenth centuries A.D. Some scholars have recently argued that the Madrid Codex originated in the Petén region of Guatemala and postdates European contact. The contributors to this volume challenge that view by demonstrating convincingly that it originated in northern Yucatán and was painted in the Pre-Columbian era. In addition, several contributors reveal provocative connections among the Madrid and Borgia group of codices from Central Mexico.
Jayne Eyre, Discourse, Disability
This breakthrough volume of critical essays on Jane Eyre from a disability perspective provides fresh insight into Charlotte Brontë’s classic novel from a vantage point that is of growing academic and cultural importance. Contributors include many of the preeminent disability scholars publishing today, including a foreword by Lennard J. Davis. Though an indisputable classic and a landmark text for critical voices from feminism to Marxism to postcolonialism, until now, Jane Eyre has never yet been fully explored from a disability perspective. Customarily, impairment in the novel has been read unproblematically as loss, an undesired deviance from a condition of regularity vital to stable closure of the marriage plot. In fact, the most visible aspects of disability in the novel have traditionally been understood in rather rudimentary symbolic terms—the blindness of Rochester and the “madness” of Bertha apparently standing in for other aspects of identity. The Madwoman and the Blindman: Jane Eyre, Discourse, Disability, resists this traditional reading of disability in the novel. Informed by a variety of perspectives—cultural studies, linguistics, and gender and film studies—the essays in this collection suggest surprising new interpretations, parsing the trope of the Blindman, investigating the embodiment of mental illness, and proposing an autistic identity for Jane Eyre. As the first volume of criticism dedicated to analyzing and theorizing the role of disability in a single literary text, The Madwoman and the Blindman is a model for how disability studies can open new conversation and critical thought within the literary canon.
The Girl with the Bee-Stung Lips
Mae Murray (1885--1965), popularly known as "the girl with the bee-stung lips," was a fiery presence in silent-era Hollywood. Renowned for her classic beauty and charismatic presence, she rocketed to stardom as a dancer in the Ziegfeld Follies, moving across the country to star in her first film, To Have and to Hold, in 1916. An instant hit with audiences, Murray soon became one of the most famous names in Tinseltown.
However, Murray's moment in the spotlight was fleeting. The introduction of talkies, a string of failed marriages, a serious career blunder, and a number of bitter legal battles left the former star in a state of poverty and mental instability that she would never overcome.
In this intriguing biography, Michael G. Ankerich traces Murray's career from the footlights of Broadway to the klieg lights of Hollywood, recounting her impressive body of work on the stage and screen and charting her rapid ascent to fame and decline into obscurity. Featuring exclusive interviews with Murray's only son, Daniel, and with actor George Hamilton, whom the actress closely befriended at the end of her life, Ankerich restores this important figure in early film to the limelight.
An expanded and updated revision of the already comprehensive first edition, The Magazine Writer’s Handbook offers insightful strategies addressing virtually every aspect of writing a magazine article for publication. Designed to be useful for both experienced magazine writers and those seeking to break into the magazine-writing industry, this handbook provides an exhaustive step-by-step approach taking the reader through every stage of the publication process. From targeting the right publication to constructing a professional article, and from dealing with legal considerations to working with editors, the revised edition of The Magazine Writer’s Handbook will be an indispensable addition to any writer’s desk. Extensively published in popular trade magazines, the authors dispense their knowledge in this handbook to help writers of all levels see their work published.
A Place about Mercy
Women come to Magdalene House in Nashville when they are ready to leave the streets. They live togetherunsupervised and free of chargefor two years. During that time, the women are given time, space, and the resources they need to heal from what have often been lifelong experiences with suffering. (Of the twentytwo women now in residence, 80 percent have a diagnosed mental illness other than addiction, 40 percent are receiving treatment for hepatitis C, and onethird are HIV positive.)
However, the story of the Magdalene community is not about these statistics, but about the stories the women tell. They say they thrive in the community because it is a place where they are free to be themselves, safe to give and receive love, and free to speak their trutheven to complain sometimes about how their storytelling is exploited "for the good of the community." A Place about Mercy is a participantobservation account of the history of this remarkable community founded in 1997, its structure, its Thistle Farms beauty products operation, and Reverend Becca Stevens's communal and spiritual vision. The book is finally about what it means to walk the path of healing with a group of unlikely women as guide.
Magdalene House was the subject of a multiplepart documentary on National Public Radio.
A comprehensive investigation of household life during the Upper Paleolithic era. What was home and family like in Paleolithic Europe? How did mobile hunter-gatherer families live, work, and play together in the fourteenth millennium BP? What were the functional and spatial constraints and markers of their domesticity—the processes that create and sustain a household? Despite the long recognized absence of comprehensive archaeological data on such ancient homes and hearths, the archaeologists in this volume begin unraveling the domesticity of the Upper Paleolithic by drawing on both an immense trove of new material evidence and comparative site data, and a range of incisive and illuminating ethnographic analogies, theoretical models, and simulations. Five Late Magdalenian sites from the Paris Basin and one later Azilian site provide striking evidence of well preserved camps of short duration, situated on valley bottoms and buried by gentle floods. Of particular interest and value is the site of Verberie, rich in lithic tools, faunal remains, hearts, and other indicators of spatial organization, which has been excavated continuously for twenty-six years by the same director and provides an unparalleled source of information on Paleolithic domesticity. The first group of essays and reports look at the technology and demographic evidences of domesticity; the second set seeks clues to the spatial patterning of Paleolithic households; while the final essays draw on ethnographic analogies to reconstruct and interpret gendered divisions of labor, perishable technologies, and other activities not directly recognizable from archaeological remains.
Globalization and the Emergence of Asian and African Literature in Spanish
The Magellan Fallacy argues that literature in Spanish from Asia and Africa, though virtually unknown, reimagines the supposed centers and peripheries of the modern world in fundamental ways. Through archival research and comparative readings, The Magellan Fallacy rethinks mainstream mappings of diverse cultures while advocating the creation of a new field of scholarship: global literature in Spanish. As the first attempt to analyze Asian and African literature in Spanish together, and doing so while ranging over all continents, The Magellan Fallacy crosses geopolitical and cultural borders without end. The implications of the book, therefore, extend far beyond the lands formerly ruled by the Spanish empire. The Magellan Fallacy shows that all theories of globalization, including those focused on the Americas and Europe, must be able to account for the varied significances of hispanophone Asia and Africa as well.
Sex, Magic, and Liberation in Modern Western Esotericism
Sexuality and the occult arts have long been associated in the western imagination, but it was not until the nineteenth century that a large and sophisticated body of literature on sexual magic—the use of sex as a source of magical power—emerged. This book, the first history of western sexual magic as a modern spiritual tradition, places these practices in the context of the larger discourse surrounding sexuality in American and European society over the last 150 years to discover how sexual magic was transformed from a terrifying medieval nightmare of heresy and social subversion into a modern ideal of personal empowerment and social liberation. Focusing on a series of key figures including American spiritualist Paschal Beverly Randolph, Aleister Crowley, Julius Evola, Gerald Gardner, and Anton LaVey, Hugh Urban traces the emergence of sexual magic out of older western esoteric traditions including Gnosticism and Kabbalah, which were progressively fused with recently-discovered eastern traditions such as Hindu and Buddhist Tantra. His study gives remarkable new insight into sexuality in the modern era, specifically on issues such as the politics of birth control, the classification of sexual "deviance," debates over homosexuality and feminism, and the role of sexuality in our own new world of post-modern spirituality, consumer capitalism, and the Internet.
The prevalent worldview of early modern England, clearly shaped by Protestantism, dismissed magical belief as an ideological delusion inherent in Catholicism. That same Protestantism encouraged a strong sense of individualism, with its emphasis on self-transformation, through which a new masculinity found expression. Why, then, did magical self-empowerment retain such a hold on the artistic and cultural imagination of early modern English society?
Ian McAdam’s innovative study suggests that the answer to this question may lie partly in an increasingly ironic presentation of magic. While the magical beliefs of the period asserted, on the one hand, individual empowerment through a quasi-religious self-justification and a presumed mastery of the objective world, those beliefs also gave rise to various anxieties concerning power and control — anxieties that created difficulty with conceptions of masculine and feminine gender roles as well as cultural attitudes toward Nature and the natural. Thus, McAdam contends, the increased interest in magic was connected to a crisis in masculine identity, which was exacerbated by the Protestant Reformation and its concern with individual empowerment as well as class, sexual, and religious identifications. Moreover, as artistic presentations — especially in the theater — were concerned with magic as a form of psychological, ideological, and cultural control, the study finds the psychoanalytic concept of narcissism useful in explaining the notion of selfhood as it developed in early modern England.
In chapters that explore various literary texts, McAdam considers depictions of magic by tracing a chronological path that follows a dialectical struggle involving a precarious attempt to balance “supra-rational” and “sub-rational” impulses. Beginning with Greene’s Friar Bacon and Friar Bungay, which depicts some ambivalent attitudes toward magical self-empowerment and the cultural concern of a feminine sexual threat to masculine (magical) control, the book moves to the Calvinist constructions of manhood in Marlowe’s Doctor Faustus and eventually to considerations of male self-definition and its reliance on women, class considerations in more oblique magical contexts, and surrender to magical (and ideological) powers in the works of Shakespeare, Marston, Middleton, Chapman, and Jonson.
In addition to appealing to those who study early modern literature and drama, this book will interest scholars of gender and those concerned with the theological basis of human subjectivity in the Renaissance.
A Who's Who of Cartoon Voice Actors
The Magic Behind the Voices is a fascinating package of biographies, anecdotes, credit listings, and photographs of the actors who have created the unmistakable voices for some of the most popular and enduring animated characters of all time.
Drawn from dozens of personal interviews, the book features a unique look at thirty-nine of the hidden artists of show business. Often as amusing as the characters they portray, voice actors are charming, resilient people-many from humble beginnings-who have led colorful lives in pursuit of success. Beavis and Butthead and King of the Hill's Mike Judge was an engineer for a weapons contractor turned self-taught animator and voice actor. Nancy Cartwright (the voice of Bart Simpson) was a small town Ohio girl who became the star protégé of Daws Butler-most famous for Yogi Bear, Huckleberry Hound, and Quick Draw McGraw. Mickey Mouse (Wayne Allwine) and Minnie Mouse (Russi Taylor) are a real-life husband-and-wife team. Spanning many studios and production companies, this book captures the spirit of fun that bubbles from those who create the voices of favorite animated characters.
In the earliest days of cartoons, voice actors were seldom credited for their work. A little more than a decade ago, even the Screen Actors Guild did not consider voice actors to be real actors, and the only voice actor known to the general public was Mel Blanc. Now, Oscar-winning celebrities clamor to guest star on animated television shows and features.
Despite the crushing turnouts at signings for shows such as Animaniacs, The Simpsons, and SpongeBob Squarepants, most voice actors continue to work in relative anonymity. The Magic Behind the Voices features personal interviews and concise biographical details, parting the curtain to reveal creators of many of the most beloved cartoon voices.
Tim Lawson is a freelance writer and filmmaker who lives in Galesburg, Illinois.
Alisa Persons is a freelance writer, artist, animator, and filmmaker, who lives in Superior, Wisconsin.