Bøger i McLellan Endowed Series serien

To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love.It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalizations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes.Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group.Today we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behavior, then we actually need the arts. Even -- or perhaps especially -- in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things.

Analyses socio-cultural phenomena in their historical and contemporary contexts

Describes the early stages of the tribe's (Makah Indians of Washington State) implementation of the Native American Graves Protection and Repatriation Act (NAGPRA). This book explores how NAGPRA implementation has been working at the tribal level, from the perspective of a tribe struggling to fit the provisions of the law.

Male-male rivalry and female passive choice, the two principal tenets of Darwinian sexual selection, raise important ethical questions in The Descent of Man--and in the decades since--about the subjugation of women. If female choice is a key component of evolutionary success, what impact does the constraint of women's choices have on society? The elaborate courtship plots of 19th century Spanish novels, with their fixation on suitors and selectors, rivalry, and seduction, were attempts to grapple with the question of female agency in a patriarchal society. By reading Darwin through the lens of the Spanish realist novel and vice versa, Travis Landry brings new insights to our understanding of both: while Darwin's theories have often been seen as biologically deterministic, Landry asserts that Darwin's theory of sexual selection was characterized by an open ended dynamic whose oxymoronic emphasis on "e;passive"e; female choice carries the potential for revolutionary change in the status of women.

For more than fifteen hundred years Yupik and proto-Yupik Eskimo peoples have lived at the site of the Alaskan village of Gambell on St. Lawrence Island. Their history is a record of family and kin, and of the interrelationship between those who live in Gambell and the spiritual world on which they depend; it is a history dominated by an abiding desire for community survival.Relying on oral history blended with ethnography and ethnohistory, Carol Zane Jolles views the contemporary Yupik people in terms of the enduring beliefs and values that have contributed to the communitys survival and adaptability. She draws on extensive interviews with villagers, archival records, and scholarly studies, as well as on her own ten years of fieldwork in Gambell to demonstrate the central importance of three aspects of Yupik life: religious beliefs, devotion to a subsistence life way, and family and clan ties. Jolles documents the life and livelihood of this modern community of marine mammal hunters and explores the ways in which religion is woven into the lives of community members, paying particular attention to the roles of women. Her account conveys a powerful sense of the lasting bonds between those who live in Gambell and their spiritual world, both past and present.

Anthropologist Rodney Frey culminates a decade of work with the Schitsuumsh (the Coeur dAlene Indians of Idaho) in this portrait of the unique bonds between a people and the landscape of their traditional homeland. The result of an intensive collaboration between investigator and Native people, the book includes many traditional stories that invite the readers participation in the world of the Schitsuumsh.The Schitsuumsh landscape of lake and mountains is described with a richness that emphasizes its essential material and spiritual qualities. The historical trauma of the Schitsuumsh, stemming from their nineteenth-century contacts with Euro-American culture, is given dramatic weight. Nonetheless, examples of adaptation and continuity in traditional cultural expression, rather than destruction and discontinuity, are the most conspicuous features of this vivid ethnographic portrait.Drawing on pivotal oral traditions, Frey mirrors the Schitsuumsh world view in his organization and presentation of ethnographic material. He uses first-person accounts by his Native consultants to convey crucial cultural perspectives and practices. Because of its unusual methodology, Landscape Traveled by Coyote and Crane is likely to become a model for future work with Native American peoples, within the Plateau region and beyond.

In this wry, judiciously balanced, and thoroughly engaging book, Galya Diment explores the complicated and fascinating relationship between Vladimir Nabokov and his Cornell colleague Marc Szeftel who, in the estimate of many, served as the prototype for the gentle protagonist of the novel Pnin. She offers astute comments on Nabokovs fictional process in creating Timogey Pnin and addresses hotly debated questions and long-standing riddles in Pnin and its history.Between the two of them, Nabokov and Szeftel embodied much of the complexity and variety of the Russian postrevolution emigre experience in Europe and the United States. Drawing on previously unpublished letters and diaries as well as on interview with family, friends, and collegues, Diment illuminates a fascinating cultural terrain.Pniniad--the epic of Pnin--begins with Szeftels early life in Russia and ends with his years in Seattle at the University of Washington, turning pivotally upon the time in Szeftels and Nabokovs lives intersected at Cornell. Nabokov apparantly was both amused by and admiring of the innocence of his historian friend. Szeftels feelings towards Nabokov were also mixed, raning from intense disappointment over rebuffed attempts to collaborate with Nabokov to persistent envy of Nabokovs success and an increasing wistfulness over his own sense of failure.

Sidner Larsons Captured in the Middle embodies the very nature of Indian storytelling, which is circular, drawing upon the personal experiences of the narrator at every turn. Larson teaches about contemporary American Indian literature by describing his own experiences as a child on the Fort Belknap Reservation in Montana and as a professor at the University of Oregon.Larson argues that contemporary Native American literary criticism is stalled. On one hand are the scholars who portray Indians stereotypically, assuming that the experiences of all tribal groups have largely been the same. On the other hand are those scholars who focus on the authenticity of the writer. In contrast, Larson considers the scholarship of Vine Deloria, Jr., who has a genuine understanding of the balance required in dealing with these issues. Two writers who have successfully redescribed many of the contemporary romantic stereotypes are James Welch and Louise Erdrich, both northern Plains Indians whose works are markedly different, their writing highlighting the disparate ways tribal groups have responded to colonization.Larson describes Indians today as postapocalyptic peoples who have already lived through the worst imaginable suffering. By confronting the issues of fear, suppression, and lost identity through literature, Indians may finally move forward to imagine and create for themselves a better future, serving as models for the similarly fractured cultures found throughout the world today.