A Century of Controversy: Ethnological Issues from 1860 to 1960 is an assessment of the history of ethnology in terms of its intellectual progress, with emphasis on the controversial issues that were broached between 1860 and 1960. Two related philosophical or theoretical poses that characterized the prominent ethnological thinkers of this period, and earlier, are related to this phenomenon. One was the prevalent positivism, the other the belief in human progress as a form of social, cultural, and mental evolution. Comprised of 19 chapters, this volume begins by looking at several eminent scholars dealing more closely with the subject of ethnology, including Henry Maine and John F. McLennan in Great Britain; Johann J. Bachofen in Switzerland; and Fustel de Coulanges in France. In particular, the chapter examines the disagreement among Maine, Bachofen, McLennan, and Fustel de Coulanges as to the nature of the earliest society and its form of marriage; the nature of the evolutionary transformations of society (especially from primitive society to civilization); and the actual meaning and function of kinship terminology. The next two chapters describe the positive, useful discoveries as well as the mistakes and weaknesses of Lewis H. Morgan's work, with particular reference to his classificatory kinship nomenclature. Subsequent sections focus on controversies surrounding kinship terminology; social structure; the origins of government; the economic life of primitive peoples; and society and culture. This book will be of interest to scholars of anthropology, archaeology, and ethnology.

State constitutions don't get the attention they deserve. They are important historical documents, and they have considerable influence on state and local government. Alabama's constitution is, according to the scholars and journalists who know it well, one of the longest (more than 315,000 words) and worst.

The Antinomian controversy--a seventeenth-century theological crisis concerning salvation--was the first great intellectual crisis in the settlement of New England. Transcending the theological questions from which it arose, this symbolic controversy became a conflict between power and freedom of conscience. David D. Hall's thorough documentary history of this episode sheds important light on religion, society, and gender in early American history. This new edition of the 1968 volume, published now for the first time in paperback, includes an expanding bibliography and a new preface, treating in more detail the prime figures of Anne Hutchinson and her chief clerical supporter, John Cotton. Among the documents gathered here are transcripts of Anne Hutchinson's trial, several of Cotton's writings defending the Antinomian position, and John Winthrop's account of the controversy. Hall's increased focus on Hutchinson reveals the harshness and excesses with which the New England ministry tried to discredit her and reaffirms her place of prime importance in the history of American women.

Leading scholar Paul G. Pickowicz traces the dynamic history of Chinese filmmaking and discusses its course of development from the early days to the present. Moving decade by decade, he explores such key themes as the ever-shifting definitions of modern marriage in 1920s silent features, East-West cultural conflict in the movies of the 1930s, the strong appeal of the powerful melodramatic mode of the 1930s and 1940s, the polarizing political controversies surrounding Chinese filmmaking under the Japanese occupation of Shanghai in the 1940s, and the critical role of cinema during the bloody civil war of the late 1940s. Pickowicz then considers the challenging Mao years, including chapters on legendary screen personalities who tried but failed to adjust to the new socialist order in the 1950s, celebrities who made the sort of artistic and political accommodations that would keep them in the spotlight in the post-revolutionary era, and insider film professionals of the early 1960s who actively resisted the most extreme forms of Maoist cultural production. The book concludes with explorations of the highly cathartic films of the early post-Mao era, edgy postsocialist movies that appeared on the eve of the Tiananmen demonstrations of 1989, the relevance of the Eastern European "velvet prison" cultural production model, and the rise of underground and independent filmmaking beginning in the 1990s. Throughout its long history of film production, China has been embroiled in a seemingly unending series of wars, revolutions, and jarring social transformations. Despite daunting censorship obstacles, Chinese filmmakers have found ingenious ways of taking political stands and weighing in--for better or worse--on the most explosive social, cultural, and economic issues of the day. Exploring the often gut-wrenching controversies generated by their work, Pickowicz offers a unique and perceptive window on Chinese culture and society.

A lavishly illustrated, witty, and original look at the awesome power of the political cartoon throughout history to enrage, provoke, and amuse. As a former editor of The New York Times Magazine and the longtime editor of The Nation, Victor S. Navasky knows just how transformative—and incendiary—cartoons can be. Here Navasky guides readers through some of the greatest cartoons ever created, including those by George Grosz, David Levine, Herblock, Honoré Daumier, and Ralph Steadman. He recounts how cartoonists and caricaturists have been censored, threatened, incarcerated, and even murdered for their art, and asks what makes this art form, too often dismissed as trivial, so uniquely poised to affect our minds and our hearts. Drawing on his own encounters with would-be censors, interviews with cartoonists, and historical archives from cartoon museums across the globe, Navasky examines the political cartoon as both art and polemic over the centuries. We see afresh images most celebrated for their artistic merit (Picasso's Guernica, Goya's "Duendecitos"), images that provoked outrage (the 2008 Barry Blitt New Yorker cover, which depicted the Obamas as a Muslim and a Black Power militant fist-bumping in the Oval Office), and those that have dictated public discourse (Herblock’s defining portraits of McCarthyism, the Nazi periodical Der Stürmer’s anti-Semitic caricatures). Navasky ties together these and other superlative genre examples to reveal how political cartoons have been not only capturing the zeitgeist throughout history but shaping it as well—and how the most powerful cartoons retain the ability to shock, gall, and inspire long after their creation. Here Victor S. Navasky brilliantly illuminates the true power of one of our most enduringly vital forms of artistic expression.

Sansovino successively dismantled and reconstituted the categories of art-making. Hardly capable of sustaining a program of reform, the experimental art of this period was succeeded by a new era of cultural codification in the second half of the sixteenth century. --

The Lord has shown me that Satan was once an honored angel in heaven, next to Jesus Christ. His countenance was mild, expressive of happiness like the other angels. His forehead was high and broad, and showed great intelligence. His form was perfect. He had noble, majestic bearing. And I saw that when God said to his Son, Let us make man in our image, Satan was jealous of Jesus. He wished to be consulted concerning the formation of man. He was filled with envy, jealousy and hatred. He wished to be the highest in heaven, next to God, and receive the highest honors. Until this time all heaven was in order, harmony and perfect subjection to the government of God.