History of Anthropology is a series of annual volumes, inaugurated in 1983, each of which treats a theme of major importance in both the history and current practice of anthropological inquiry. Drawing its title from a poem of W. H. Auden's, the present volume, Malinowski, Rivers, Benedict, and Others (the fourth in the series) focuses on the emergence of anthropological interest in "culture and personality" during the 1920s and 1930s. It also explores the historical, cultural, literary, and biological background of major figures associated with the movement, including Bronislaw Manlinowski, Edward Sapir, Abram Kardiner, Ruth Benedict, Margaret Mead, and Gregory Bateson. Born in the aftermath of World War I, flowering in the years before and after World War II, severely attacked in the 1950s and 1960s, "culture and personality" was subsequently reborn as "psychological anthropology." Whether this foreshadows the emergence of a major anthropological subdiscipline (equivalent to cultural, social, biological, or linguistic anthropology) from the current welter of "adjectival" anthropologies remain to be seen. In the meantime, the essays collected in the volume may encourage a rethinking of the historical roots of many issues of current concern. Included in this volume are the contributions of Jeremy MacClancy, William C. Manson, William Jackson, Richard Handler, Regna Darnell, Virginia Yans-McLaughlin, James A. Boon, and the editor.

CONTENIDO: Laws prohibiting the marriage of relatives -- The reasons for U.S. laws against first cousin marriage -- European laws prohibiting the marriage of relatives -- European views of cousin marriage -- The evolutionary factor -- Biogenetics and first cousin marriage -- Culture and cousin marriage.

How do gender and race become objects of intellectual inquiry? What happens to marginal discourses when they participate in the academic processes of scrutiny and evaluation? In Women Intellectuals, Modernism, and Difference, Alice Gambrell examines the careers of a group of women intellectuals - Leonora Carrington, Ella Deloria, H. D., Zora Neale Hurston, and Frida Kahlo - whose scholarly rediscovery coincided with the rise of feminist and minority discourse studies in the academy. She examines the exhibitions, memoirs, poems, ethnographies, and personal correspondences these women produced, combining concrete local observation with contemporary theoretical perspectives on race and gender. Through a mixture of empirical detail and theoretical speculation, Gambrell explores the role these women played in expanding the conception of American literature by their involvement in the Harlem Renaissance. She offers new ways of thinking about the relationships between cultural studies, feminism and minority discourse within the ongoing reassessment of modernism.

In recent decades, historians and social theorists have given much thought to the concept of "culture," its origins in Western thought, and its usefulness for social analysis. In this book, Susan Hegeman focuses on the term's history in the United States in the first half of the twentieth century. She shows how, during this period, the term "culture" changed from being a technical term associated primarily with anthropology into a term of popular usage. She shows the connections between this movement of "culture" into the mainstream and the emergence of a distinctive "American culture," with its own patterns, values, and beliefs. Hegeman points to the significant similarities between the conceptions of culture produced by anthropologists Franz Boas, Edward Sapir, Ruth Benedict, and Margaret Mead, and a diversity of other intellectuals, including Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Dwight Macdonald. Hegeman reveals how relativist anthropological ideas of human culture--which stressed the distance between modern centers and "primitive" peripheries--came into alliance with the evaluating judgments of artists and critics. This anthropological conception provided a spatial awareness that helped develop the notion of a specifically American "culture." She also shows the connections between this new view of "culture" and the artistic work of the period by, among others, Sherwood Anderson, Jean Toomer, Thomas Hart Benton, Nathanael West, and James Agee and depicts in a new way the richness and complexity of the modernist milieu in the United States.

Today, a widening range of historical phenomena are being examined through the psychoanalytic lens, while the psychoanalytic tradition itself is coming in for unprecedented historical scrutiny. This collection of essays showcases the innovative, and sometimes contentious, encounters between psychoanalysis and history.