Writing Anthropologists, Sounding Primitives offers a contribution to the history of anthropology by synthesizing and applying insights from the history of writing, sound studies, and intermediality studies to poetry and scholarship produced by early twentieth-century U.S.-American cultural anthropologists.

Writing Anthropologists, Sounding Primitives re-examines the poetry and scholarship of three of the foremost figures in the twentieth-century history of U.S.-American anthropology: Edward Sapir, Margaret Mead, and Ruth Benedict. While they are widely renowned for their contributions to Franz Boas’s early twentieth-century school of cultural relativism, what is far less known is their shared interest in probing the representational potential of different media and forms of writing. This dimension of their work is manifest in Sapir’s critical writing on music and literature and Mead’s groundbreaking work with photography and film. Sapir, Mead, and Benedict together also wrote more than one thousand poems, which in turn negotiate their own media status and rivalry with other forms of representation. A. Elisabeth Reichel presents the first sustained study of the published and unpublished poetry of Sapir, Mead, and Benedict, charting this largely unexplored body of work and relevant selections of the writers’ scholarship. In addition to its expansion of early twentieth-century literary canons, Writing Anthropologists, Sounding Primitives contributes to current debates about the relations between different media, sign systems, and modes of sense perception in literature and other media. Reichel offers a unique contribution to the history of anthropology by synthesizing and applying insights from the history of writing, sound studies, and intermediality studies to poetry and scholarship produced by noted early twentieth-century U.S.-American cultural anthropologists.

Boasian Verse explores the understudied poetic output of three major twentieth-century anthropologists: Edward Sapir, Ruth Benedict, and Margaret Mead. Providing a comparative analysis of their anthropological and poetic works, this volume explores the divergent representations of cultural others and the uses of ethnographic studies for cultural critique. This volume aims to illuminate central questions, including: Why did they choose to write poetry about their ethnographic endeavors? Why did they choose to write the way they wrote? Was poetry used to approach the objects of their research in different, perhaps ethically more viable ways? Did poetry allow them to transcend their own primitivist, even evolutionist tendencies, or did it much rather refashion or even amplify those tendencies? This in-depth examination of these ethnographic poems invites both cultural anthropologists and students of literature to reevaluate the Boasian legacy of cultural relativism, primitivism, and residual evolutionism for the twenty-first century. This volume offers a fresh perspective on some of the key texts that have shaped twentieth- and twenty-first-century discussions of culture and cultural relativism, and a unique contribution to readers interested in the dynamic area of multimodal anthropologies.

In the 1880s, a new medical term flashed briefly into public awareness in the United States. Children who had trouble distinguishing between similar speech sounds were said to suffer from "sound-blindness." The term is now best remembered through anthropologist Franz Boas, whose work deeply influenced the way we talk about cultural difference. In this fascinating work of literary and cultural history, Alex Benson takes the concept as an opening onto other stories of listening, writing, and power—stories that expand our sense of how a syllable, a word, a gesture, or a song can be put into print, and why it matters. Benson interweaves ethnographies, memoirs, local-color stories, modernist novels, silent film scripts, and more. Taken together, these seemingly disparate texts—by writers including John M. Oskison, Helen Keller, W. E. B. Du Bois, F. Scott Fitzgerald, and Elsie Clews Parsons—show that the act of transcription, never neutral, is conditioned by the histories of race, land, and ability. By carefully tracing these conditions, Benson argues, we can tease out much that has been left off the record in narratives of American nationhood and American literature.

Regna Darnell offers a critical reexamination of the theoretical orientation of the Americanist tradition, centered on the work of Franz Boas, and the professionalization of anthropology as an academic discipline in the United States in the late nineteenth and early twentieth centuries. History of Theory and Method in Anthropology reveals the theory schools, institutions, and social networks of scholars and fieldworkers primarily interested in the ethnography of North American Indigenous peoples. Darnell’s fifty-year career entails foundational writings in the four fields of the discipline: cultural anthropology, ethnography, linguistics, and physical anthropology. Leading researchers, theorists, and fieldwork subjects include Claude Lévi-Strauss, Franz Boas, Benjamin Lee Whorf, John Wesley Powell, Frederica de Laguna, Dell Hymes, George Stocking Jr., and Anthony F. C. Wallace, as well as nineteenth-century Native language classifications, ethnography, ethnohistory, social psychology, structuralism, rationalism, biologism, mentalism, race science, human nature and cultural relativism, ethnocentrism, standpoint-based epistemology, collaborative research, and applied anthropology. History of Theory and Method in Anthropology is an essential volume for scholars and undergraduate and graduate students to enter into the history of the inductive theory schools and methodologies of the Americanist tradition and its legacies.

This volume on the history of anthropology emphasizes schools of theory, institutional connections, social networks, and collaborative research with North American Indigenous communities. Regna Darnell, a fifty-year veteran of the field, brings unsurpassed historicist and presentist interpretations of the discipline’s legacy.

In Truth and Power in American Archaeology, archaeologist and ethnohistorian Alice Beck Kehoe presents her key writings where archaeological fieldwork, ethnohistorical analysis, postcolonial anthropology, and feminist analysis intersect to provide students and scholars of anthropology an overview of the methodological and ethical issues in Americanist archaeology in the last thirty years. Truth and Power in American Archaeology brings together Kehoe’s broad-ranging, influential articles and previously unpublished lectures to explore archaeology’s history, methods, concepts, and larger imbrication in knowledge production in the West. With her contextualizing introductions, these articles argue for recognition of scientific method in the historical sciences of archaeology, paleontology, and geology; empirically grounded understandings of American First Nations’ ways of life and scientific knowledge; discussion of archaeology as expanded histories; a view of American archaeology’s social contexts of Manifest Destiny ideology, Cold War politics, and patriarchy; and a postcolonial historicist understanding of America’s real deep-time history and of the imperialist racism entrenched in mainstream American archaeology.

Hoarding New Guinea provides a new cultural history of colonialism that pays close attention to the millions of Indigenous artifacts that serve as witnesses to Europe's colonial past in ethnographic museums. Rainer F. Buschmann investigates the roughly two hundred thousand artifacts extracted from the colony of German New Guinea from 1870 to 1920. Reversing the typical trajectories that place ethnographic museums at the center of the analysis, he concludes that museum interests in material culture alone cannot account for the large quantities of extracted artifacts. Buschmann moves beyond the easy definition of artifacts as trophies of colonial defeat or religious conversion, instead employing the term hoarding to describe the irrational amassing of Indigenous artifacts by European colonial residents. Buschmann also highlights Indigenous material culture as a bargaining chip for its producers to engage with the imposed colonial regime. In addition, by centering an area of collection rather than an institution, he opens new areas of investigation that include non-professional ethnographic collectors and a sustained rather than superficial consideration of Indigenous peoples as producers behind the material culture. Hoarding New Guinea answers the call for a more significant historical focus on colonial ethnographic collections in European museums.

David Howes’s sweeping history of the senses in the disciplines of anthropology and psychology and in the field of law lays the foundations for a sensational jurisprudence, or a way to do justice to and by the senses of other people. In part 1, Howes demonstrates how sensory ethnography has yielded alternative insights into how the senses function and argues convincingly that each culture should be approached on its own sensory terms. Part 2 documents how the senses have been disciplined psychologically within the Western tradition, starting with Aristotle and moving through the rise of Lockean empiricism and cognitive neuroscience. Here, Howes presents an anthropologically informed critique of experimental and cognitive psychology, sensory science, and phenomenology. In part 3, he introduces the paradigm of the “historical anthropology of the senses and sensation” and applies it to the analysis of trade relations between Europe and China in the early modern period, to the treaty-making process in North America during the colonial period, and to all the unresolved disputes over land rights and Indigenous sovereignty that continue to this day, arguing that these differences are rooted in a cultural clash of sensoria. Designed for the classroom, Sensorial Investigations displays an expansive critical engagement with generations of scholarship. It is essential reading for students and scholars of the history and anthropology of the senses, the psychology of sensation, and socio-legal studies.

Franz Boas defined the concept of cultural relativism and reoriented the humanities and social sciences away from race science toward an antiracist and anticolonialist understanding of human biology and culture. Franz Boas: Shaping Anthropology and Fostering Social Justice is the second volume in Rosemary Lévy Zumwalt's two-part biography of the renowned anthropologist and public intellectual. Zumwalt takes the reader through the most vital period in the development of Americanist anthropology and Boas's rise to dominance in the subfields of cultural anthropology, physical anthropology, ethnography, and linguistics. Boas's emergence as a prominent public intellectual, particularly his opposition to U.S. entry into World War I, reveals his struggle against the forces of nativism, racial hatred, ethnic chauvinism, scientific racism, and uncritical nationalism. Boas was instrumental in the American cultural renaissance of the 1920s and 1930s, training students and influencing colleagues such as Melville Herskovits, Zora Neale Hurston, Benjamin Botkin, Alan Lomax, Langston Hughes, and others involved in combating racism and the flourishing Harlem Renaissance. He assisted German and European émigré intellectuals fleeing Nazi Germany to relocate in the United States and was instrumental in organizing the denunciation of Nazi racial science and American eugenics. At the end of his career Boas guided a network of former student anthropologists, who spread across the country to university departments, museums, and government agencies, imprinting his social science more broadly in the world of learned knowledge. Franz Boas is a magisterial biography of Franz Boas and his influence in shaping not only anthropology but also the sciences, humanities, social science, visual and performing arts, and America's public sphere during a period of great global upheaval and democratic and social struggle.