This book begins by proposing a theoretical model that reconciles orality-literacy studies and media theory in order to avoid the specious dichotomization of societies into those with and those without writing. The more relevant issue is the way in which a given society distributes semiotic functions among the various media that it employs and the forms of economic and political integration within which such media function. This theoretical model then informs a history of the Andean khipu from pre-Columbian times through the first 120 years of the colonial period. The first half of the book examines early Andean media and their socioeconomic and political contexts, culminating with the emergence of Wari and subsequently Inca khipu. The second half of the book documents and analyzes the continued use of khipu by indigenous individuals and communities in their interactions with Spanish officials, chroniclers, and priests. The study corrects many common misconceptions, such as the alleged mass destruction of khipu in the late sixteenth century. Even more importantly, it highlights the dialogue that occurred in the colonial period between the administrative and historiographic discourses of alphabetic Spanish and those of native Andean khipu genres.

In an age when computers process immense amounts of information by the manipulation of sequences of 1s and 0s, it remains a frustrating mystery how prehistoric Inka recordkeepers encoded a tremendous variety and quantity of data using only knotted and dyed strings. Yet the comparison between computers and khipu may hold an important clue to deciphering the Inka records. In this book, Gary Urton sets forth a pathbreaking theory that the manipulation of fibers in the construction of khipu created physical features that constitute binary-coded sequences which store units of information in a system of binary recordkeeping that was used throughout the Inka empire. Urton begins his theory with the making of khipu, showing how at each step of the process binary, either/or choices were made. He then investigates the symbolic components of the binary coding system, the amount of information that could have been encoded, procedures that may have been used for reading the khipu, the nature of the khipu signs, and, finally, the nature of the khipu recording system itself—emphasizing relations of markedness and semantic coupling. This research constitutes a major step forward in building a unified theory of the khipu system of information storage and communication based on the sum total of construction features making up these extraordinary objects.

Inka khipus--spun and plied cords that record information through intricate patterns of knots and colors--constitute the only available primary sources on the Inka empire not mediated by the hands, minds, and motives of the conquering Europeans. As such, they offer direct insight into the worldview of the Inka--a view that differs from European thought as much as khipus differ from alphabetic writing, which the Inka did not possess. Scholars have spent decades attempting to decipher the Inka khipus, and Gary Urton has become the world's leading authority on these artifacts. In Inka History in Knots, Urton marshals a lifetime of study to offer a grand overview of the types of quantative information recorded in khipus and to show how these records can be used as primary sources for an Inka history of the empire that focuses on statistics, demography, and the "longue durée" social processes that characterize a civilization continuously adapting to and exploiting its environment. Whether the Inka khipu keepers were registering census data, recording tribute, or performing many other administrative tasks, Urton asserts that they were key players in the organization and control of subject populations throughout the empire and that khipu record-keeping vitally contributed to the emergence of political complexity in the Andes. This new view of the importance of khipus promises to fundamentally reorient our understanding of the development of the Inka state and the possibilities for writing its history.

The Inka Empire stretched over much of the length and breadth of the South American Andes, encompassed elaborately planned cities linked by a complex network of roads and messengers, and created astonishing works of architecture and artistry and a compelling mythology—all without the aid of a graphic writing system. Instead, the Inkas' records consisted of devices made of knotted and dyed strings—called khipu—on which they recorded information pertaining to the organization and history of their empire. Despite more than a century of research on these remarkable devices, the khipu remain largely undeciphered. In this benchmark book, twelve international scholars tackle the most vexed question in khipu studies: how did the Inkas record and transmit narrative records by means of knotted strings? The authors approach the problem from a variety of angles. Several essays mine Spanish colonial sources for details about the kinds of narrative encoded in the khipu. Others look at the uses to which khipu were put before and after the Conquest, as well as their current use in some contemporary Andean communities. Still others analyze the formal characteristics of khipu and seek to explain how they encode various kinds of numerical and narrative data.

The Incas is a captivating exploration of one of the greatest civilizations ever seen. Seamlessly drawing on history, archaeology, and ethnography, this thoroughly updated new edition integrates advances made in hundreds of new studies conducted over the last decade. • Written by one of the world’s leading experts on Inca civilization • Covers Inca history, politics, economy, ideology, society, and military organization • Explores advances in research that include pre-imperial Inca society; the royal capital of Cuzco; the sacred landscape; royal estates; Machu Picchu; provincial relations; the khipu information-recording technology; languages, time frames, gender relations, effects on human biology, and daily life • Explicitly examines how the Inca world view and philosophy affected the character of the empire • Illustrated with over 90 maps, figures, and photographs

Indigenous sign-systems, such as pictographs, petroglyphs, hieroglyphs, and khipu, are usually understood as relics from an inaccessible past. That is far from the truth, however, as Edgar Garcia makes clear in Signs of the Americas. Rather than being dead languages, these sign-systems have always been living, evolving signifiers, responsive to their circumstances and able to continuously redefine themselves and the nature of the world. Garcia tells the story of the present life of these sign-systems, examining the contemporary impact they have had on poetry, prose, visual art, legal philosophy, political activism, and environmental thinking. In doing so, he brings together a wide range of indigenous and non-indigenous authors and artists of the Americas, from Aztec priests and Amazonian shamans to Simon Ortiz, Gerald Vizenor, Jaime de Angulo, Charles Olson, Cy Twombly, Gloria Anzaldúa, William Burroughs, Louise Erdrich, Cecilia Vicuña, and many others. From these sources, Garcia depicts the culture of a modern, interconnected hemisphere, revealing that while these “signs of the Americas” have suffered expropriation, misuse, and mistranslation, they have also created their own systems of knowing and being. These indigenous systems help us to rethink categories of race, gender, nationalism, and history. Producing a new way of thinking about our interconnected hemisphere, this ambitious, energizing book redefines what constitutes a “world” in world literature.

Breaks new ground with a close ethnography of one Andean village where villagers, surprisingly, have conserved a set of ancient, knowledge-encoded cords to the present day.

In 14 original essays, this book reveals the history of books in all their various forms, from the ancient world to the digital present

'It has taken me a long time, my dearest Aza, to fathom the cause of that contempt in which women are held in this country ...' Zilia, an Inca Virgin of the Sun, is captured by the Spanish conquistadores and brutally separated from her lover, Aza. She is rescued and taken to France by Déterville, a nobleman, who is soon captivated by her. One of the most popular novels of the eighteenth century, the Letters of a Peruvian Woman recounts Zilia's feelings on her separation from both her lover and her culture, and her experience of a new and alien society. Françoise de Graffigny's bold and innovative novel clearly appealed to the contemporary taste for the exotic and the timeless appetite for love stories. But by fusing sentimental fiction and social commentary, she also created a new kind of heroine, defined by her intellect as much as her feelings. The novel's controversial ending calls into question traditional assumptions about the role of women both in fiction and society, and about what constitutes 'civilization'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Writing as Material Practice grapples with the issue of writing as a form of material culture in its ancient and more recent manifestations, and in the contexts of production and consumption. Fifteen case studies explore the artefactual nature of writing — the ways in which materials, techniques, colour, scale, orientation and visibility inform the creation of inscribed objects and spaces, as well as structure subsequent engagement, perception and meaning making. Covering a temporal span of some 5000 years, from c.3200 BCE to the present day, and ranging in spatial context from the Americas to the Near East, the chapters in this volume bring a variety of perspectives which contribute to both specific and broader questions of writing materialities. The authors also aim to place past graphical systems in their social contexts so they can be understood in relation to the people who created and attributed meaning to writing and associated symbolic modes through a diverse array of individual and wider social practices.