The workers who migrate from Lesotho to the mines and cities of neighboring South Africa have developed a rich genre of sung oral poetry—word music—that focuses on the experiences of migrant life. This music provides a culturally reflexive and consciously artistic account of what it is to be a migrant or part of a migrant's life. It reveals the relationship between these Basotho workers and the local and South African powers that be, the "cannibals" who live off of the workers' labor. David Coplan presents a moving collection of material that for the first time reveals the expressive genius of these tenacious but disenfranchised people. Coplan discusses every aspect of the Basotho musical literature, taking into account historical conditions, political dynamics, and social forces as well as the styles, artistry, and occasions of performance. He engages the postmodern challenge to decolonize our representation of the ethnographic subject and demonstrates how performance formulates local knowledge and communicates its shared understandings. Complete with transcriptions of full male and female performances, this book develops a theoretical and methodological framework crucial to anyone seeking to understand the relationship between orality and literacy in the context of performance. This work is an important contribution to South African studies, to ethnomusicology and anthropology, and to performance studies in general.

The workers who migrate from Lesotho to the mines and cities of neighboring South Africa have developed a rich genre of sung oral poetry—word music—that focuses on the experiences of migrant life. This music provides a culturally reflexive and consciously artistic account of what it is to be a migrant or part of a migrant's life. It reveals the relationship between these Basotho workers and the local and South African powers that be, the "cannibals" who live off of the workers' labor. David Coplan presents a moving collection of material that for the first time reveals the expressive genius of these tenacious but disenfranchised people. Coplan discusses every aspect of the Basotho musical literature, taking into account historical conditions, political dynamics, and social forces as well as the styles, artistry, and occasions of performance. He engages the postmodern challenge to decolonize our representation of the ethnographic subject and demonstrates how performance formulates local knowledge and communicates its shared understandings. Complete with transcriptions of full male and female performances, this book develops a theoretical and methodological framework crucial to anyone seeking to understand the relationship between orality and literacy in the context of performance. This work is an important contribution to South African studies, to ethnomusicology and anthropology, and to performance studies in general.

In Cannibalism and the Colonial World, published in 1998, an international team of specialists from a variety of disciplines - anthropology, literature, art history - discusses the historical and cultural significance of western fascination with the topic of cannibalism. Addressing the image as it appears in a series of texts - popular culture, film, literature, travel writing and anthropology - the essays range from classical times to contemporary critical discourse. Cannibalism and the Colonial World examines western fascination with the figure of the cannibal and how this has impacted on the representation of the non-western world. This group of literary and anthropological scholars analyses the way cannibalism continues to exist as a term within colonial discourse and places the discussion of cannibalism in the context of postcolonial and cultural studies.

Story of the Cook Islands immediately before the coming of Europeans written by a Rarotongan missionary.

Chap. 3; Corroboree song, subincision knife from Georgina R., artefacts (W. Qld.); Chap. 6; Description of station natives of Herbert R. area; Hunting, tree-climbing, weapons, camps; Chap. 9; Distribution of food, method of tree climbing, physical description and habits; Borboby= settlement of inter-group disputes by combat; Menstrual taboo on women, ritual adornment; Chap. 10; Physique etc., birth & infanticide, cicatrization, firemaking, gathering honey; Chap. 11; Method of cooking & eating eggs; Songs (words & melody in notations); Chap. 12; Treatment of women; Martial relations, cannibalism; Huts, clothing, tribal lands and boundaries; Chap. 14; Dingoes, diseases and treatment; Chap. 15; Daily life in camp, childhood, kinship terms; Chap. 16; Mourning; Chap. 17; Marriage & elopement Chap. 19; Secular dancing; Chap. 20; Black police & a murder; Chap. 21; Physical anthropology (cranial measurements); Chap. 22; Inter-tribal hostility, cannibalism; Chap. 23; Burial, belief in spirits & life after death, medicine men, magic; Chap. 26; Message sticks; Language notes, short vocab.; Chap. 27; Gracemere harpooning dugong; Chap. 28-29; Degeneration in contact.

Mummies, Cannibals and Vampires charts in vivid detail the largely forgotten history of European corpse medicine, when kings, ladies, gentlemen, priests and scientists prescribed, swallowed or wore human blood, flesh, bone, fat, brains and skin against epilepsy, bruising, wounds, sores, plague, cancer, gout and depression. One thing we are rarely taught at school is this: James I refused corpse medicine; Charles II made his own corpse medicine; and Charles I was made into corpse medicine. Ranging from the execution scaffolds of Germany and Scandinavia, through the courts and laboratories of Italy, France and Britain, to the battlefields of Holland and Ireland, and on to the tribal man-eating of the Americas, Mummies, Cannibals and Vampires argues that the real cannibals were in fact the Europeans. Medicinal cannibalism utilised the formidable weight of European science, publishing, trade networks and educated theory. For many, it was also an emphatically Christian phenomenon. And, whilst corpse medicine has sometimes been presented as a medieval therapy, it was at its height during the social and scientific revolutions of early-modern Britain. It survived well into the eighteenth century, and amongst the poor it lingered stubbornly on into the time of Queen Victoria. This innovative book brings to life a little known and often disturbing part of human history.

A bankrupt merchant encounters Herman Melville and is pursued through the depths of Gilded Age Manhattan by a brutal antagonist In the sixth stand-alone book in The American Novels series, Shelby Ross, a merchant ruined by the depression of 1873–79, is hired as a New York City Custom House appraiser under inspector Herman Melville, the embittered, forgotten author of Moby-Dick. On the docks, Ross befriends a genial young man and makes an enemy of a despicable one, who attempts to destroy them by insinuating that Ross and the young man share an unnatural affection. Ross narrates his story to his childhood friend Washington Roebling, chief engineer of the soon-to-be-completed Brooklyn Bridge. As he is harried toward a fate reminiscent of Ahab’s, he encounters Ulysses S. Grant, dying in a brownstone on the Upper East Side; Samuel Clemens, who will publish Grant’s Memoirs; and Thomas Edison, at the dawn of the electrification of the city. Feast Day of the Cannibals charts the harrowing journey of a tormented heart during America’s transformative age.