This book takes the reader where only brave souls dare to compete--the world of bullfighting. Matadors risk serious injury or death to compete in their art, one that has been a part of Spanish and Latin American culture for centuries. Beginning with an introduction to bullfighting as it relates to American culture (not overlooking the negative views it often attracts), the book profiles 21 American matadors in detail, including women bullfighters, and novilleros (beginners). Chapters within each section are devoted to individual bullfighters. A major feature of this work are the numerous action photographs, many of which were taken by the author himself and impressively portray the flair, skill, emotion, and faces of bullfighting.

This collection offers a uniquely comprehensive guide to the sociology of the body. With a strong historical scope and conceptual framework, it provides an indispensable reference for undergraduate and postgraduate students, and a robust source for scholars working in the area. The central focus is on understanding sociology through the body; what is often described as re-reading sociology in a 'more corporeal light'. This is an interdisciplinary process, drawing on history, feminism, cultural history, art history, anthropology, social psychology, philosophy, medical sociology and media and communications, as well as sociology. While this has been primarily a Western practice, The Body seeks to broaden the perspective to include references that draw on alternative cultural assumptions, beliefs and practices (including Japan, and South America.)

Published 1921-35, this highly illustrated multi-volume excavation report documents the discovery of Minoan civilisation on Crete.

The White Goddess: An Encounter is a mesmerising tale of sex, lies and divided loyalties. Set between the magic of a bohemian Majorca and the horror of Franco's Madrid, it is a haunting evocation of a lost time and place, dominated by the extraordinary power of Robert Graves, one of the 20th century's greatest writers. When 10-year-old Simon Gough went to Majorca in 1953 he thought he had landed in paradise. Far from the misery of his English boarding school and his parents' divorce, he fell in love - with the tiny village of Deya, with his wild cousin Juan and most of all with his beloved "Grand-Uncle" Robert Graves. When he returned in 1960, paradise had been overrun by beatniks and marijuana - and Simon liked it all the more. But soon he fell for the enchanting Margot Callas, Robert Graves' muse. He found himself entangled in a web of lies and deceit and playing a game whose rules he didn't understand. The repercussions would haunt him for the rest of his life. The Observer says: "Impassioned, with all the intensive drama a youthful affair entails, this "autobifantasy" (as Gough calls it) is as much about a love of a place - the freedom and beauty of Dei? contrasts with the brutality of Franco's Madrid - as of a person. In fact, some of the finest parts of the book are not about Callas but the touching portrait of Graves and his wife Beryl; a tender, observant record both of their relationship and their real selves in their later years."

A history in postcards of Mexican tourist towns in the first half of the twentieth century, with nearly two hundred illustrations. Between 1900 and the late 1950s, Mexican border towns came of age both as tourist destinations—in some cases by luring Americans who wanted to escape Prohibition—and as emerging cities. Commercial photographers produced thousands of images of their streets, plazas, historic architecture, and tourist attractions, which were reproduced as photo postcards. Daniel Arreola has amassed one of the largest collections of these border town postcards, and in this book he uses this amazing visual archive to offer a new way of understanding how the border towns grew and transformed themselves in the first half of the twentieth century, as well as how they were pictured to attract American tourists. Postcards from the Río Bravo Border presents nearly two hundred images of five towns on the lower Río Bravo: Matamoros, Reynosa, Nuevo Laredo, Piedras Negras, and Villa Acuña. Using multiple images of sites within each city, Arreola tracks changes both within the cities as places and in the ways in which they’ve been pictured for tourist consumption. He also shows how postcard images, when systematically and chronologically arranged, can tell us a great deal about how Mexican border towns have been viewed over time. This innovative visual approach demonstrates that historical imagery, no less than text or maps, can be assembled to tell a fascinating geographical story. “This is masterful cultural geography with rich visual materials, delivered in a unique and compelling fashion.” —Journal of Latin American Geography

Reprint of the original, first published in 1868.