Libros: "Arts of the Pre-Inca Period"

7

Babović, Ljubinka. Tajna Lepenskog vira: Lik boga Sunca : iz VII milenijuma pre Hrista = The mystery of Lepenski Vir : the image of the Sun Deity : from the 7th millenium B.C. Narodni muzej u Beogradu, 2008.

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8

Babović, Ljubinka. Tajna Lepenskog vira: Lik boga Sunca : iz VII milenijuma pre Hrista = The mystery of Lepenski Vir : the image of the Sun Deity : from the 7th millenium B.C. Narodni muzej u Beogradu, 2008.

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9

In the palace of Nezahualcoyotl: Painting manuscripts, writing the pre-Hispanic past in early colonial period Tetzcoco, Mexico. University of Texas Press, 2010.

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10

Robertson, Donald. Mexican manuscript painting of the early colonial period: The metropolitan schools. University of Oklahoma Press, 1994.

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11

(Korea), Kungnip Chungang Pangmulgwan, and Kokusai Kōryū Kikin, eds. Chōsen tsūshinshi: Kinsei 200-nen no Nikkan bunka kōryū : tokubetsu tenkan = Envoys from Korea : Japan-Korean cultural exchange for 200 years in pre-modern period. Tōkyō Kokuritsu Hakubutsukan Unʼei Kyōryokukai, 1985.

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12

Balanzategui, Jessica, and Allison Craven. Monstrous Beings and Media Cultures. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463726344.

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Monstrous Beings of Media Cultures examines the monsters and sinister creatures that spawn from folk horror, Gothic fiction, and from various sectors of media cultures. The collection illuminates how folk monsters form across different art and media traditions, and interrogates the 21C revitalization of “folk” as both a cultural formation and aesthetic mode. The essays explore how combinations of vernacular and institutional creative processes shape the folkloric and/or folkoresque attributes of monstrous beings, their popularity, and the contexts in which they are received. While it focuses on 21C permutations of folk monstrosity, the collection is transhistorical in approach, featuring chapters that focus on contemporary folk monsters, historical antecedents, and the pre-C21st art and media traditions that shaped enduring monstrous beings. The collection also illuminates how folk monsters and folk “horror” travel across cultures, media, and time periods, and how iconic monsters are tethered to yet repeatedly become unanchored from material and regional contexts.

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13

Hakubutsukan, Tōkyō Kokuritsu. Chōsen tsūshinshi: Kinsei 200-nen no Nikkan bunka kōryū : tokubetsu tenkan : Shōwa 60-nen 10-gatsu 29-nichi--12-gatsu 1-nichi, Tōkyō Kokuritsu Hakubutukan = Envoys from Korea : Japan-Korean cultural exchange for 200 years in pre-modern period. Kokusai Kōryū Kikin, 1985.

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14

(Korea), Kungnip Chungang Pangmulgwan, and Kokusai Kōryū Kikin, eds. Chōsen tsūshin-shi: Kinsei 200-nen no Nikkan bunka kōryū : tokubetsu tenkan, Tōkyō Kokuritsu Hakubutsukan, Shōwa 60-nen 10-gatsu 29-nichi - 12-gatsu 1-nichi = Envoys from Korea : Japan-Korean cultural exchange for 200 years in pre-modern period. Kokusai Kōryū Kikin, 1985.

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15

Maarten E. R. G. N. Jansen. Codex Bodley. Bodleian Library, 2005.

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16

Strindberg, August. Selected Plays: The Pre-Inferno Period. Univ of Minnesota Pr, 1986.

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17

Strindberg, August. Selected Plays: The Pre-Inferno Period, the Post-Inferno Period. Univ of Minnesota Pr (Trd), 1986.

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18

Troncoso, Andrés. Inca Landscapes of Domination. Edited by Sonia Alconini and Alan Covey. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219352.013.42.

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In many provinces of the Tahuantinsuyu, the understanding of Inca domination has been focused on the political strategies implemented by the state. However, the political landscape developed during this time required an engagement with dynamic local communities. By studying the visual and spatial distribution of rock art in North-Central Chile, we discuss how traditional community practices were transformed during the Inca era. We propose that in the Late Intermediate Period rock art was key in the production of a corporate community, whereas in the Inca period it promoted the construction of hierarchy and social differences within the communities. This change was promoted by the local leaders, who took advantage of ancestral places and traditional community practices. Simultaneously, the Inca political strategy made concerted efforts to invisibilize such places and practices.

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19

History, Captivating. History of Argentina: A Captivating Guide to Argentine History, Starting from the Pre-Columbian Period Through the Inca Empire and Spanish Colonization to the Present. Captivating History, 2021.

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20

History, Captivating. History of Argentina: A Captivating Guide to Argentine History, Starting from the Pre-Columbian Period Through the Inca Empire and Spanish Colonization to the Present. Vicelane, 2021.

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21

Wright, Kenneth R., Ruth M. Wright, Ph D. Mcewan Gordon, and Alfredo Valencia Zegarra. Machu Picchu: A Civil Engineering Marvel. American Society of Civil Engineers, 2000.

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22

Claes, Koenraad. The Late-Victorian Little Magazine. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474426213.001.0001.

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Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated design project or ‘Total Works of Art’ in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen little magazines of the Victorian Fin de Siècle, situating these within the periodical press of their day and providing interpretations of representative content items. In doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.

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23

Douglas, Eduardo de J. In the Palace of Nezahualcoyotl: Painting Manuscripts, Writing the Pre-Hispanic Past in Early Colonial Period Tetzcoco, Mexico. de Gruyter GmbH, Walter, 2010.

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24

Mason, Emma. Kinship and Creation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198723691.003.0003.

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Rossetti’s involvement with the Pre-Raphaelites transformed her perception of the visible and invisible world, shaping her Christological and ecological reading of all things as part of one body. While critics have acknowledged her relationship with Pre-Raphaelitism, its influence has often been separated from her faith. This chapter suggests, however, that Rossetti’s reading of an early Pre-Raphaelite affinity with what Dante Gabriel Rossetti called an ‘art-Catholic’ helped found her nondual understanding of creation as embracing both the material and the divine, and that her vision of an interconnected creation evolved in this period in her encounters with Plato, Gregory of Nyssa, Francis of Assisi, and William Blake. Through a series of close readings of her earliest published poetry, including ‘Goblin Market’, and contributions to the Pre-Raphaelite periodical The Germ, the chapter relates her communal and participatory vision of creation to a form of kinship modelled in the Sermon on the Mount.

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25

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. Dimensions of the American Art Market. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0002.

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Chapter 2 discusses the long evolution of the market for American art in a brief synopsis of key developments along the way. It explains the early marketing of American art, the romance of collectors with Old Masters, the shift in art education of Americans to Europe (especially Paris and Munich) and the ultimate development of a “unique” American art at the turn of the nineteenth century—involving the mix of European modernism with American influences of the “ashcan” artists and the American modernism sponsored by Alfred Stieglitz. Finally, the shift from pre–World War II art to abstract expressionism and contemporary styles is explained as the result of politics in the postwar period. The chapter includes dichotomized lists of eighty prominent American artists—those born prior to 1900 and those born 1900 through 1960.

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26

Carlson, Roy L. Figurines and Figural Art of the Northwest Coast. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.017.

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Similarities between the earliest Northwest Coast art and ethnographic art are traced regionally from 2000 bc into the late nineteenth century. The earliest known figural art is in the Fraser River–Gulf Islands region and consists of human and animal images with ribs and backbones, joint marks, and protruding tongues, and masks. These motifs are present on ritual spoons used for feeding the dead, probably as part of an early form of the memorial potlatch, and are related to beliefs in human–animal transformation, regeneration from bone, spirit power, and shamanism. These same motifs are found later in adjacent regions as parts of ritual objects, tools, and utensils. Art declined in the late pre-contact period in the region where it is known earliest, but fluoresced later on the lower Columbia River, particularly on the northern Northwest Coast where the late classic interlocked style developed and has continued to evolve today.

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27

Graves, Margaret S. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0007.

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The conclusion places the art of the object into an expanded field, where it is shown to be contiguous with other visual and verbal artforms including architecture, painting, poetry, and rhetoric. It locates the peak of the allusive object in the pre-Mongol Middle East and speculates about its decline in the later medieval and early modern periods. It also considers the change in meaning that the subjects of the book have undergone as they transition from being objects of use to objects of display. The conclusion ends with final consideration of the nature of allusion and its implications for the intelligent art of the object.

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28

Pre-Islamic ceramics in Saudi Arabia: The chronological and typological study of the ceramics, technology and craft production discovered in Saudi Arabia, from the Neolithic period until the Dawn of Islam. Ministry of Education, Deputy Ministry of Antiquities and Museums, 2007.

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29

Loney, Alexander C., and Stephen Scully, eds. The Oxford Handbook of Hesiod. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.001.0001.

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This volume brings together twenty-nine junior and senior scholars to discuss aspects of Hesiod’s poetry and its milieu and to explore questions of reception over two and half millennia, from shortly after the poems’ conception to Twitter hashtags. Rather than an exhaustive survey of Hesiodic themes, the Handbook is conceived as a guide through terrain, some familiar, other less charted, examining both Hesiodic craft and later engagements with Hesiod’s stories of the gods and moralizing proscriptions of just human behavior. The volume is divided into four sections: “Hesiod in Context,” “Hesiod’s Art,” “Hesiod in the Greco-Roman Period,” and “Hesiod from Byzantium to Modern Times.” Topics of the chapters range from the “Hesiodic question” to the archaeology and economic history of archaic Boiotia, to Hesiod and Indo-European poetics, and from discussions of style to Hesiod’s vision of the supernatural in the Theogony, to questions of performer and audience interactions in the Works and Days. Looking at both poems together, other chapters explore tensions between diachronic and synchronic temporalities and varying portrayals of female figures. Reception studies range from Solon to comic books, with chapters in between on Hesiod and the pre-Socratics, Orphism, archaic art, Pindar, tragedy, comedy, Plato, Hellenistic poetry, Hellenistic philosophy, Virgil and the Georgic tradition, Ovid, Second Sophistic and early Christian authors in the Greco-Roman period, Byzantine and Renaissance writers and editions, Christian humanism and Milton, Enlightenment, Romanticism, and Nietzsche, Freud and structuralism, and contemporary art and literature in postclassical times.

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30

Muthesius, Stefan. Postwar Art, Architecture, and Design. Edited by Dan Stone. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199560981.013.0031.

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There is no doubt that planners, architects, and designers, or anybody involved with creating works addressed to the public, would have testified to the overwhelming importance of a comprehensive sense of a new postwar world, most definitely for the first twenty years after 1945. It was a period that followed what appeared as the ‘zero hour’, marking the end of the most terrible war in history. There was a sense of a new beginning that aimed at ‘making good’ what the war had destroyed and pacifying the evils of dictatorship. But not only that; the ‘reformers’ aimed higher, at creating a world which was ‘better’ than any known before, and even the pre-war years in those countries that had not been under a dictatorship, such as Britain, were held to have been gravely deficient. Almost all other countries also took part in this ‘renewal’, chiefly under the banner of ‘modernity’. This article examines art, architecture, and design in Europe during the postwar period, looking at painting and sculpture as well as postmodernism.

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31

Lozada, María Cecilia, ed. Andean Ontologies. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813056371.001.0001.

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Andean Ontologies is a fascinating interdisciplinary investigation of how ancient Andean people understood their world and the nature of being. Exploring pre-Hispanic ideas of time, space, and the human body, these essays highlight a range of beliefs across the region’s different cultures, emphasizing the relational aspects of identity in Andean worldviews. Studies included here show that Andeans physically interacted with their pasts through recurring ceremonies in their ritual calendar and that Andean bodies were believed to be changeable entities with the ability to interact with nonhuman and spiritual worlds. A survey of rock art describes Andeans’ changing relationships with places and things over time. Archaeological and ethnographic evidence reveals head hair was believed to be a conduit for the flow of spiritual power, and bioarchaeological remains offer evidence of Andean perceptions of age and wellness. Andean Ontologies breaks new ground by bringing together an array of renowned specialists including anthropologists, bioarchaeologists, historians, linguists, ethnohistorians, and art historians to evaluate ancient Amerindian ideologies through different interpretive lenses. Many are local researchers from South American countries such as Ecuador, Peru, Bolivia, Chile, and Argentina, and this volume makes their work available to North American readers for the first time. Their essays are highly contextualized according to the territories and time periods studied. Instead of taking an external, outside-in approach, they prioritize internal and localized views that incorporate insights from today’s indigenous societies. This cutting-edge collection demonstrates the value of a multifaceted, holistic, inside-out approach to studying the pre-Columbian world.

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32

Moore, Jerry. Andean Statecraft before the Incas. Edited by Sonia Alconini and Alan Covey. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219352.013.32.

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This chapter presents an overview of pre-Inca states in the Andes, describing patterns of statecraft that came before the Inca Empire. The earliest evidence for Andean urbanism and statecraft appeared on the north coast of Peru, where Mochica polities built on earlier processes. A period of local development followed the disintegration of Mochica states, and the Chimú Empire spread across parts of the region in the centuries before Inca incorporation. In the Andean highlands, the Wari and Tiwanaku empires developed their own urban centers and extended administrative centers and enclaves into other highland areas. As archaeologists explore the pre-Inca Andean states more intensively, focusing more attention on peripheral and non-elite contexts, it is clear that these societies used distinct strategies to integrate their core regions and to extend their power more widely.

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33

Taiz, Lincoln, and Lee Taiz. The Discovery of Sex. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190490263.003.0002.

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“The Discovery of Sex,” discusses the discovery of the role of the male in reproduction and the association of women with plants in the Ice Age. In the Upper Paleolithic many barriers could have combined to obscure the connection between sexual intercourse and childbirth. Examples include pre-puberty sexual activity, prolonged breast-feeding, and the alignment of cycles in the birthrate with periods of relative leisure and abundance. Numeracy is also relevant, as explored in relation to the Gravettian sculpture, the “Lady of Laussel.” The early association of plants and women is suggested by the discovery that clothing worn by some of the Paleolithic “Venus” figurines was composed of plant-based textiles. This association is consistent with roles of women as described in ethnographic studies of modern hunter-gatherer societies, and has implications for the status of women in Paleolithic society. Sexual symbolism in parietal art is examined, including the Magdalenian transition in iconography.

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34

Telotte, J. P. Movies, Modernism, and the Science Fiction Pulps. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949655.001.0001.

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This book considers the impact that the new art of film had on the development of the emerging science fiction (SF) genre during the pre- and early post-World War II era, during the time that the genre was trying to locate an identity, develop its key themes, and even settle on a name. Focusing on the primary venue for early SF literature, the popular pulp magazines such as Amazing Stories, Wonder Stories, and Astounding Stories, it traces this early film/literature relationship by examining four common features of the pulps: stories that involve film or the film industry; film-related advertising; editors’ commentaries and readers’ remarks on film; and cover and story illustrations. All these features demonstrate an interest and even a fascination with the movies, which, as many of SF’s readers, writers, and editors recognized, demonstrated a modernist agenda similar to that which characterized the literature. By surveying these haunting traces of another medium in early SF discourse, this book shows how that cinematic influence penetrated and, both consciously and unconsciously, helped shape the experience of SF, as well as the cultural idea of SF during this formative period.

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35

Christian, Kathleen, and Bianca de Divitiis, eds. Local antiquities, local identities. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.001.0001.

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This book brings together essays on the burgeoning array of local antiquarian practices developed across Europe in the early modern era (c. 1400-1700). Adopting an interdisciplinary and comparative method it investigates how individuals, communities and regions invented their own ancient pasts according to concerns they faced in the present. A wide range of 'antiquities' -- real or fictive, Roman, or pre-Roman, unintentionally confused or deliberately forged -- emerged through archaeological investigations, new works of art and architecture, collections, history-writing and literature. This book is the first to explore the concept of local concepts of antiquity across Europe in a period that has been defined as a uniform 'Renaissance'. Contributions take a new novel approach to the revival of the antique in different parts of Italy and also extend to other, less widely studied antiquarian traditions in France, the Netherlands, Spain, Portugal, Britain and Poland. They examine how ruins, inscriptions, and literary works were used to provide evidence of a particular idea of local origins, rewrite history or vaunt civic pride. They consider municipal antiquities collections in Southern Italy and Southern France, the antiquarian response to the pagan, Christian and Islamic past on the Iberian Peninsula, or Netherlandish interest in megalithic ruins thought to be traces of a prehistoric race of Giants. This interdisciplinary book is of interest for students and scholars of Early modern art history, architectural history, literary studies and history, as well as classics and the reception of antiquity.

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36

Downes, Stephanie, Sally Holloway, and Sarah Randles, eds. Feeling Things. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198802648.001.0001.

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This volume investigates the various interactions of people, feelings, and things throughout pre-modern Europe. The subject of materiality has been gaining interest in recent historical inquiry, alongside growing emphasis on the relationships between objects, emotions, and affect in archaeological and sociological research. The historical intersections between materiality and emotions, however, have remained under-theorized, particularly with respect to objects which have continuing resonance over extended periods of time, or across cultural and geographical space. The book addresses this need to develop an appropriate cross-disciplinary theoretical framework for analysing the emotional meanings of objects in European history. It draws together an international group of historians, art historians, curators, and literary scholars working on a variety of cultural, literary, visual, and material sources. Objects considered include books, letters, prosthetics, religious relics, shoes, stone, and textiles, and individual chapters address the ways in which emotions such as despair, fear, grief, hope, love, and wonder become inscribed in and ascribed to these items, producing ‘emotional objects’ of significance and agency.

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37

Koontz, Rex, and James Farmer. Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder. Edited by James Farmer and Rex Koontz. University of Houston Open Educational Resources, 2022.

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38

Dino, Nelson, Baharudin Arus, Lokman Abdul Samad, and Jul-Amin Ampang. Suluk Ukkil on the Barong Expressions, motifs and meanings. UMS Press, 2022. http://dx.doi.org/10.51200/sulukukkilnelsonums2021.

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With its origin dating back to as early as the 500 BC, the ukkil forms part of a centuries-old woodcarving art and tradition of the Suluk, one of the many indigenous ethnic groups of Nusantara (Southeast Asia). Suluk ukkil bears striking resemblance to the Malay ukir, both featuring similar patterns and motifs. The ukkil is often used to decorate jewellery, boats, houses, grave markers, and mosques. It is also used to decorate the hilts and sheaths of bladed weapons such as the barung. The barung refers to the thick, leaf-shaped sword of the Suluk. A barung with beautifully carved hilt and sheath, especially those using expensive wood, is considered high value and usually reserved for Suluk aristocrats. This book narrates the expressions, motifs and meanings behind ukkil carved on the barung. It is based on the results of a two-year field research conducted in different districts of Sabah. It presents data gathered through various interviews with owners, elders, and subject-matter experts. It also presents data from direct observations of heirloom barung that are still found in the hands of a few Suluk and individuals from other indigenous ethnic groups. It presents new insights from analysis made using the Theory of Iconology, a framework of analyzing art popularized by German art historian Erwin Panofsky. The predominant themes of ukkil found on ancient barung in Sabah are Islamic; zoomorphic such as birds, lizards, snakes, and squids; plantomorphic such as vines, flowers, and leaves; and cultural such as those depicting local myths, culture, values and traditions of the Suluk. Each of these images and themes represent realities that shaped the daily lives of the Suluk from the past until today, including the wind, the ocean waves and sea currents, all of which are essential for travel and navigation. They also depict concepts, beliefs and practices important to the Suluk such as freedom, livelihood, aristocracy, harmony within the community, leadership, spirituality, and Islamic principles. The Suluk are a sea-faring people who have a deep relationship with their immediate environment, especially the sea. Suluk carvers draw inspiration from nature, the environment around them, their local culture, their religious practices, and their own values and ideals in life. Both the ukkil and the barung are an embodiment of their rich past, their livelihood, creativity, their faith, their principles and their values in life. Sadly, the practice of ukkil-carving is fast declining nowadays, with only very few practitioners left and so few individuals interested in learning about it. The barung too, where the ukkil is often carved on, is no longer being produced in large numbers. As the ukkil, like all forms of art, constitute an integral part of a nation’s culture and identity, it is important for it to be understood, preserved, and protected. This book provides fresh knowledge and insights that will help the Suluk and other indigenous tribes of Malaysia and Nusantara in the understanding and preservation of the ukkil as an essential aspect of their country’s or their region’s culture and heritage. This book offers historical background that will help explain the identity of the Suluk as a culturally and artistically advanced people with deep interconnection with other indigenous ethnic groups in Malaysia and the rest of Nusantara as early as the pre-colonial period. Knowledge about the ukkil can help people connect and correct their thoughts about the Suluk while at the same time promote cultural awareness and diversity among Malaysians and other people in Southeast Asia. This book will hopefully pave the way for more research to be done on the arts and culture, not just of the Suluk but also of other indigenous ethnic groups in the region as well. That knowledge will serve as a medium for keeping harmony and cultural links among each and every Malaysian and Nusantaran.

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39

Jansen, Maarten, and Gabina Aurora Perez Jimenez. Codex Bodley: A Painted Chronicle from the Mixtec Highlands, Mexico (Bl - Treasures from the Bodleian Library). Bodleian Library, University of Oxford, 2005.

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40

Sandrock, Kirsten. Scottish Colonial Literature. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474464000.001.0001.

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Scottish Colonial Literature is a comprehensive study of Scottish colonial writing before 1707. It brings together previously dispersed sources to argue for a tradition of Scottish colonial literature before the Union of Parliaments. It introduces the term colonial utopian literature to frame the intricate relationship between colonialism and utopianism in the seventeenth century. Offering case studies relating to colonial undertakings at Nova Scotia (1620s), East New Jersey (1680s) and at the Isthmus of Panama, then known as Darien (1690s), Scottish Colonial Literature explores how literature and culture shaped Scotland's colonial ventures in the seventeenth century. In addition, it considers works written in the larger context of the Scottish Atlantic so as to illuminate how the Atlantic shaped seventeenth-century Scottish literature and vice versa. One key question running through the book is the relationship between art and ideology. Textual narratives were powerful instruments of empire-building throughout the early modern period. This book focuses on utopianism as a framework that authors used to claim power over the Atlantic. In the Scottish context, the intersections between utopianism and colonialism shed light on the ambiguous narratives of possession and dispossession as well as internal and external colonialism in Scottish colonial writing of the seventeenth century. Scottish Colonial Literature enters debates about Scotland's position in colonial and postcolonial studies through its focus on pre-1707 Atlantic literature.

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41

Condra, Jill, ed. The Greenwood Encyclopedia of Clothing through World History. Greenwood Publishing Group, Inc, 2008. http://dx.doi.org/10.5040/9781440880100.

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How people dressed throughout history often reflects how they lived at the time, and Clothing in World History gives the reader a chance to explore clothing in a given place and time while also providing a general history to help put the costumes in context. This set takes the reader on a journey from the beginning of time to present day to look at what people wore in Europe, North America, South America, and Asia. Men's, Women's, and Children's clothing from various social classes, as well as accessories, are be included. This set is a critical guide for secondary and undergraduate students interested in history, social history, art history, fashion, and costume. It covers the history of clothing throughout the world from pre-historic times to 2006. Many cultures are included in this study of clothing within the context of social, political, economic, and religious history as they pertain to each time period and place. Researchers can turn to this set first for the most essential information about a time, place, and style of dress. The three volumes are divided into comprehensive parts with the goal of making them easy to use and accessible to readers. There are other books and surveys of the history of costume that mainly concentrate on Western Europe, but few that cover different cultures and how they influence fashion in the western world. This book looks at costume throughout the world and throughout history.

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42

Condra, Jill, ed. The Greenwood Encyclopedia of Clothing through World History. Greenwood Publishing Group, Inc, 2008. http://dx.doi.org/10.5040/9781440880094.

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How people dressed throughout history often reflects how they lived at the time, and Clothing in World History gives the reader a chance to explore clothing in a given place and time while also providing a general history to help put the costumes in context. This set takes the reader on a journey from the beginning of time to present day to look at what people wore in Europe, North America, South America, and Asia. Men's, Women's, and Children's clothing from various social classes, as well as accessories, are included. This set is a critical guide for secondary and undergraduate students interested in history, social history, art history, fashion, and costume. It covers the history of clothing throughout the world from pre-historic times to 2006. Many cultures are included in this study of clothing within the context of social, political, economic, and religious history as they pertain to each time period and place. Researchers can turn to this set first for the most essential information about a time, place, and style of dress. The three volumes are divided into comprehensive parts with the goal of making them easy to use and accessible to readers. There are other books and surveys of the history of costume that mainly concentrate on Western Europe, but few that cover different cultures and how they influence fashion in the western world. This book looks at costume throughout the world and throughout history.

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43

Condra, Jill, ed. The Greenwood Encyclopedia of Clothing through World History. Greenwood Publishing Group, Inc, 2008. http://dx.doi.org/10.5040/9781440880117.

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How people dressed throughout history often reflects how they lived at the time, and Clothing in World History gives the reader a chance to explore clothing in a given place and time while also providing a general history to help put the costumes in context. This set takes the reader on a journey from the beginning of time to present day to look at what people wore in Europe, North America, South America, and Asia. Men's, Women's, and Children's clothing from various social classes, as well as accessories, are be included. This set is a critical guide for secondary and undergraduate students interested in history, social history, art history, fashion, and costume. It covers the history of clothing throughout the world from pre-historic times to 2006. Many cultures are included in this study of clothing within the context of social, political, economic, and religious history as they pertain to each time period and place. Researchers can turn to this set first for the most essential information about a time, place, and style of dress. The three volumes are divided into comprehensive parts with the goal of making them easy to use and accessible to readers. There are other books and surveys of the history of costume that mainly concentrate on Western Europe, but few that cover different cultures and how they influence fashion in the western world. This book looks at costume throughout the world and throughout history.

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44

Davies, Douglas J. A Cultural History Of Death In The Modern Age. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781474206341.

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The medieval cultures of Europe (800-1450) produced novel cultural forms related to the human experience of death and dying that merit deep consideration. This volume contributes fresh interpretations and a new synthesis of perspectives on this dynamic cultural horizon informed by breakthrough work in a range of fields, including archaeology, art history, history, literature, and theology. The authors of individual chapters bring to their topics not just expertise in their given fields, but also a sense of major shifts in the way we study death, reflecting on the changing norms, attitudes, and values that drove people’s experience of this crucial last phase of life. Pushing back against the tired cliches about death in pre-modern culture, the essays detail those features of death culture that persist through time and across cultures—like the preference for burial in churches and churchyards across Europe—while also marking the emergence of novel and distinctive practices and beliefs—like the evolution of Purgatory, with associated impacts on prayers for the dead. While attending to sharp differences between the medieval world and our own, the authors also note uncanny continuities with the present. The cumulative effect is to leave the reader with a profound sense of the cultural contribution of the medieval period to the moral obligation to take ownership of our own deaths, regardless of our belief system, and to honor our relationship to the dead, on whom our cultures are founded.

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45

Jackson, Zakiyyah Iman. Becoming Human. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479890040.001.0001.

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Becoming Human: Matter and Meaning in an Antiblack World demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Rather than applying a pre-given philosophical framework to literature and visual culture, Becoming Human provides a model for reading African diasporic literature and visual art for the philosophical premises, interventions, and implications of these forms and traditions. Becoming Human argues that African diasporic cultural production does not coalesce into a unified tradition that merely seeks inclusion into the dominant conception of “the human” but, rather, frequently alters the meaning and significance of being (human) and engages in imaginative practices of worlding from the perspective of a history of blackness’s bestialization and thingification: the process of imagining a black person as an empty vessel, a nonbeing, a nothing, an ontological zero, coupled with the violent imposition of colonial myths and racial hierarchy. In complementary but highly distinct ways, the literary and visual texts in Becoming Human articulate being (human) in a manner that neither relies on animal denigration nor reestablishes liberal humanism as the authority on being (human). What emerges from this questioning is a radically unruly sense of being/knowing/feeling existence, one that necessarily ruptures the foundations of the current hegemonic mode of “the human.”

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Libros sobre el tema "Arts of the Pre-Inca Period"

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