The core of this book is a complete description of two important Ndembu rituals of affliction (Chihamba and Kayong'u), and an analysis of the system of ideas underlying more than a dozen modes of divination. Written by an internationally-known social scientist, the book demonstrates how the study of small-scale events may reveal as much about what it means to be a human being in society as do grand macrosocial and macrocultural surveys.Drawing on two and a half years of fieldwork, Victor Turner offers two thorough ethnographic studies of Ndembu revelatory ritual and divinatory techniques, with running commentaries on symbolism by a variety of Ndembu informants. Striking a personal note in the introductory chapter, Turner acknowledges his indebtedness to Ndembu ritualists for alerting him to the theoretical relevance of symbolic action in understanding human societies. He believes that ritual symbols, like botanists' stains, enable us to detect and trace the movement of social processes and relationships that often lie below the level of direct observation.

Womack offers a concise and easy-to-read overview of the power and meaning of symbols in all human societies. She describes how symbols_images, words, or behaviors with multi-layered meanings_are mechanism of communication. She demonstrates how we experience the power of symbols in all aspects of human life: birth, death, love, sexual desire, and the need for food and shelter. Womack investigates the use of symbols in the language of religion, healing, politics, social organization and control, popular culture, psychology, philosophy, semiotics, magic and expressive culture, including art, aesthetics, literature, theater, sports, and music. The author's eclectic, anthropological approach incorporates the social, conceptual and psychological dynamics of symbols. Her new book is an essential introductory textbook for courses that define fundamental concepts in religion, cultural anthropology, communication, and art.

Vincent O'Sullivan's compelling, nuanced portrait of the great New Zealand artist Ralph Hotere brings the man and his art to life. Ralph Hotere (Te Aupouri and Te Rarawa; 1931–2013) was one of Aotearoa’s most significant modern artists. Hotere invited the poet, novelist and biographer Vincent O’Sullivan to write his life story in 2005. Now, this book — the result of years of research and many conversations with Hotere and his fellow artists, collaborators, friends and family — provides a nuanced, compelling portrait of Hotere: the man, and the artist. "Vincent O’Sullivan has given us the remarkable story of a small boy, Hone Papita Raukura Hotere — born in 1931 near Mitimiti on the coastal edge of the Hokianga — who first becomes Rau, then Ralph, and eventually an iconic, stand-alone signature: HOTERE. I love the tale about Ralph being invited to explain his work to the Queen. It’s not hard to guess how he must have felt. Now he would simply be able to hand Her Majesty a copy of this book, give one of his quiet coughs, and say, ‘Here you go, this should do the trick’." — BILL MANHIRE "Ka rawe! This rangatira book by Vincent O’Sullivan leaves no doubt as to Ralph Hotere’s position on the paepae of New Zealand artists." — WITI IHIMAERA

Based on over a decade of research, this book connects dream studies to cognitive anthropology, to perspectives in the humanities on mimesis, ambiguity, and metaphor, to current dream research in psychology, and to recent work in economic and political relations. Traveling the dreamscapes of a variety of young people, Mimesis and the Dream explores their encounters with American cultures and the identities that derive from these encounters. While ethnographies typically concern shared social habits and practices, this book concerns shared aspects of subjectivity and how people represent and think about them in dreams. Each chapter grounds theory in actual cases. It will be compelling to scholars in multiple disciplines and illustrates how dreaming offers insights into twenty-first century debates and problems within these disciplines, bringing a vital theoretically eclectic approach to dream studies.

This lively and readable survey introduces students to key areas of the field and shows how to apply an anthropological approach to the study of contemporary world religions. Written by an experienced teacher, it covers all of the traditional topics of anthropology of religion, including definitions and theories, beliefs, symbols and language, and ritual and myth, and combines analytic and conceptual discussion with up-to-date ethnography and theory. Eller includes copious examples from religions around the world – both familiar and unfamiliar – and two mini-case studies in each chapter. He also explores classic and contemporary anthropological contributions to important but often overlooked issues such as violence and fundamentalism, morality, secularization, religion in America, and new religious movements. Introducing Anthropology of Religion demonstrates that anthropology is both relevant and essential for understanding the world we inhabit today.

The Spirit of Colin McCahon provides a vivid historical contextualisation of New Zealand’s premier modern artist, clearly explaining his esoteric religious themes and symbols. Via a framework of visual rhetoric, this book explores the social factors that formed McCahon’s religious and environmental beliefs, and justifications as to why his audience often missed the intended point of spiritual his discourse – or chose to ignore it. The Spirit of Colin McCahon tracks the intricate process by which the artist’s body of work turned from optimism to misery, and explains the many communicative techniques he employed in order to arrest suspicion towards his Christian prophecy. More broadly, The Spirit of Colin McCahon outlines a model of analysis for the intersection of art and religion, and the place of images as rhetorical devices within Antipodean culture. The emerging field of religion and visual culture is important not only to students of New Zealand art history, but also to a growing field of appreciation for the communicative power of images. This book provides a helpful model for examining art and literature as social and religious tools, and advances the importance of visual rhetoric within studies of art and social expression.

Curating in a Time of Ecological Crisis reaffirms the relevance and impactful role of art, revealing how contemporary art exhibitions can capture the zeitgeist and advance new and collaborative approaches to a more sustainable inhabitation of Earth. The book is largely focused on biennales, which it argues are the contemporary exhibition models with the greatest capacity to offer new perspectives and propose alternative ways of connecting with our social and natural environments. Felicity Fenner demonstrates this by showing how curators of these high-profile exhibitions are responding in creative and engaging ways to the issues that preoccupy artists and society more broadly, of which the ecological crisis is paramount. Drawing on case studies from different parts of the world, the author reveals how biennales can make a constructive contribution to debates and attitudes around climate change, and how the role of the curator has evolved to re-embrace a duty of care not just to art but to the natural world as well. Curating in a Time of Ecological Crisis investigates how large-scale exhibitions of contemporary international art can become agents of change. As such, the book will be essential reading for scholars, students, and practitioners with an interest in exhibitions, curating, contemporary art, and environmental sustainability.