^ Download PDF The Secret of the Incas: Myth, Astronomy, and the War Against Time, by William Sullivan

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Step by step, Sullivan pieces together the hidden esoteric tradition of the Andes to uncover the tragic secret of the Incas, a tribe who believed that, if events in the heavens could influence those on earth, perhaps the reverse could be true. Anyone who reads this book will never look at the ruins of the Incas, or at the night sky, the same way again. Illustrations.


From the Hardcover edition.

• Sales Rank: #1222008 in Books
• Published on: 1997-05-20
• Released on: 1997-05-20
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.55 pounds
• Binding: Paperback
• 464 pages

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• ISBN13: 9780517888513
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Kirkus Reviews
A sometimes murky, frequently meandering excursion into the meaning of ancient Andean beliefs, arguing that in a series of sophisticated myths Incan soothsayers foretold their own civilization's doom at the hands of Pizarro and his conquistadors in 1532. Sullivan, a scholar of Native American cultures, begins with a question that has perplexed historians of the Spanish conquest: How could the vast Inca Empire, with its millions of subjects, have been conquered overnight by a band of 170 Spanish adventurers? Sullivan digs into the history and mythology of Andean civilization to find what he feels is the answer: For hundreds of years the sages of the Andes had believed that astronomical transitions presaged earthly cataclysms; reading changes in the night skies in the 1400s, Incan priest-astronomers foretold the imminent destruction of their own recently founded empire. Sullivan argues, in a sometimes hyperbolic first-person account (``In that moment I had, I believed, touched for an instant the terrible burden and tragic urgency of the Inca vision''), that the Incas followed the planets, recorded precessional events in their myths, and equated social and celestial changes. He further asserts that elements in Incan culture preceding Pizarro's arrival--constant warfare and the Incan ritual of human sacrifice--represented an attempt to halt the march of time and prevent the apocalyptic events foreshadowed by changes in the night sky. The Incas assumed that the arrival of Pizarro represented the culmination of the prophecy and the failure of their own efforts to prevent its occurrence. The thread of the author's argument can be hard to follow. Still, Sullivan's deep feeling for Andean folk materials, and the originality of his observations about Andean astronomy, make his text worthwhile for those interested in the history of South American civilization and for those who, in the wake of Joseph Campbell's works, seek enduring meaning in ancient mythology. (History Book Club and One Spirit Book Club alternate selections) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved.

From the Inside Flap
Step by step, Sullivan pieces together the hidden esoteric tradition of the Andes to uncover the tragic secret of the Incas, a tribe who believed that, if events in the heavens could influence those on earth, perhaps the reverse could be true. Anyone who reads this book will never look at the ruins of the Incas, or at the night sky, the same way again. Illustrations.

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0 of 0 people found the following review helpful.
Hamlet's Mill - a beautiful demonstration
By Hexagram of the Heavens
Sullivan's book, "The Secret of the Incas" is powerful, surprising, almost impeccable, and emotionally moving. The unexpected conclusions are, for all that they are unexpected, logical extensions of what I call the "Hamlet's Mill Thread" - the proposition that myth can be read as history, given certain rules for its decoding. Sullivan in effect provides the first comprehensive demonstration - I myself would say "proof" - that those rules, proposed by Santillana and Von Dechend, authors of "Hamlet's Mill", can be applied to specific bodies of cultural myth such as that of the Andes.

The authors who explore this thread, which leads sometimes to imaginative stretches, have to tread a fine line to remain within the pale of academic respectability (and of course many of the most successful don't, not having academic posts to defend.) Sullivan does this by resolutely staying with the bounds of what he himself terms the "rules of engagement" for academia, but he also has well-written and thoughtful critiques of the milieu in which he operates, including a welcome discussion of the reasons for the general rejection by archeologists and anthropologists of diffusionist theories - which are of course the only reasonable explanation for the wide-spread cultural similarities between the archaic pyramid cultures world-wide. He also discusses the reality of older matrilineal societies in the Andes, a nice reality check on the "age of matriarchy" idea whose adherents carry on one of the cartoon discussion of our time.

Sullivan's conclusions are surprising because (1) he shows that the Incas did not have a complete grasp of Precession as a cycle, but were aware only of the oscillating movement of the changes in declination of the stars (as shown in a different context by the graphic image of the gods and demons yanking the cosmic serpent at Angkor Wat). The late Inca emperors were engaged in a tragic and doomed endeavor to reverse
precession through sacrifice and prayer, to return to the Golden Age of Viracocha, at the time the Spaniards arrived. This, Sullivan shows, runs parallel to a similar effort by the late pre-conquest Aztecs, which also leads to a discussion of the question of possible contact between these two cultures, an idea not generally accepted in academia.

(2) Also surprising is that the time scale is not deeper than it is, as I had naively hoped. Sullivan pegs the Age of Viracocha at 200 BC to 650 AD. His argument is convincing. I speculate that he simply declines to mention any thoughts he might have had on previous eras, because he must stick, obviously, to what his data will support within the context of his "rules of engagement".

Sullivan's demonstration that mythic events can be given hard dates by planetary conjunctions means that this Andean history and other ethnic / mythic histories yet to be interpreted can now also be correlated with tree ring and ice core data. In this connection, I note that Sullivan mentions at least twice an Andean tradition that the older hunter-gatherer tradition was destroyed by a "rain of fire". Such events have been identified and roughly dated by Robert Schoch as asteroid / comet strikes and solar plasma ejection events, though Sullivan was unaware of this when he published in 1996.

All but the last chapter is the material of Sullivan's dissertation. In the final chapter as published here, he lets his hair down a little bit and indulges in some new age speculation which is generally not unreasonable, compared with others in the field.

However, getting out of his area of expertise, he steps on one noticeable whoopee cushion when, on page 338, he trots out - without a footnote, in contrast to almost every other detail in the book - a false and anachronistic etymology of the musical scale syllables "DO RE MI" etc., claiming it as "medieval" and "already ancient in Dante's time", and makes some comparisons to the Andean pentatonic scale. The (false)
etymology uses the syllables DO and SI which are not earlier than the 17th century, and the purported derivations actually come, if I am not greatly mistaken, from either Madame Blavatsky or one of her disciples Olcott or Ledbetter, and are spurious. The six original syllables UT RE MI FA SOL LA were taken in the 11th century from the initial syllables of six lines of a medieval Latin hymn, and despite a structural similarity to the Hindu and Arabic sets, this is the only authentic etymology. Meanwhile, Sullivan misses the much more significant fact that the Andean pentatonic scale is nearly identical to the Chinese pentatonic scale, which should be food for thought, as the Chinese system has its own diffusional relationship to the musical systems of India, Babylonia, and Greece. Non-musicians who want to speculate in this area should probably read and understand the work of Ernest G. McClain before committing naive mistakes. But considering the strengths of the main part of the book, this is a minor point.

36 of 39 people found the following review helpful.
The Secret of the Incas : Myth, Astronomy, and the War Again
By A Customer
William Sullivan decodes the myths of the Incas.
Secrets of the Incas chronicles how Dr Sullivan first learned to decode ancient Andean myths. These myths - which were recorded by the Spanish at the time of their conquest of the Incas - are, according to Dr Sullivan, a 'message in a bottle' from the Incas to future generations. Dr Sullivan describes how he decoded the myths and how this led him to certain important dates in Andean prehistory and history. A glossary defines and explains various Andean mythological and historical terms, and a timeline shows what Dr Sullivan believes to be the correspondence between mythological, astronomical and archaeological events in the high Andes - how, in effect, what was happening in the heavens was mirrored by what was happening on Earth
On the evening of 15 November 1532, a band of 175 hardened Spanish adventurers crossed a pass in the high Andes. Looking down upon a broad, fertile valley in northern Peru, they became the first Europeans to make contact with the Incas, whose highly developed empire stretched 3,000 miles from Chile to Colombia and had a population of six million. On the following day, in what ranks as one of the strangest events in all recorded history, the Spaniards managed to seize the Inca king Atahuallpa and, in the ensuing panic, used the advantage of their 120 warhorses to kill and wound 10,000 Inca warriors. From that day onward, through luck and guile, and with reinforcements soon pouring in from Panama, the Spaniards - who came in search of gold and glory, in the name of the Roman Catholic Church - never relinquished the edge they seized in that first fateful encounter.
What the Spaniards never knew, and what history does not record, was the reason for the apparently inexplicable collapse of the greatest land empire on the face of the Earth.
Secrets of the Incas explores the baffling and tragic vulnerability of the Inca empire and comes to a startling conclusion: the Spanish had appeared at precisely the right place and at just the right time to fulfil an ancient, astronomically based prophecy of doom.
This conclusion is the result of two decades of research by American scholar Dr William Sullivan into the sophisticated astronomical knowledge of the Incas and how they encrypted this in their myths. Secrets of the Incas presents completely new evidence taken from an Inca myth. In this, Dr William Sullivan believes, lies the key to the basis of the old man's prophecy and, indeed, to the formation of the Inca empire itself. This myth is nothing less than a dire warning of an impending precessional event that, to the Incas, predicted future ruin.
The 'gate' or 'bridge' to the land of the ancestors - that is, the rising of the December solstice Sun with the Milky Way - was about to be washed away. Drawing on their ancient mythological database, the Incas reasoned - from the principle 'as above, so below' - that loss of contact with the ancestors, upon which their religious beliefs were founded, would mean their way of life would be destroyed on Earth.
It was this prophecy that stirred the first Inca emperor to action: if time was merciless, it had to be stopped. So the entire Inca empire, which was less than a century old when the Spanish arrived, became involved in an attempt at cosmic regulation - to change the course of the stars by changing the course of human history on Earth: 'as below, so above.'
William Sullivan decodes the myths of the Incas to reveal an astoundingly precise record of astronomical events. The Incas accepted their fate as written in the stars.

15 of 22 people found the following review helpful.
A rambling, biased, tome
By MysticJaguar
The book examines Inka and Mayan myths using a variety of tools, and many, many words. To the first myth the book applies the theories in Hamlets Mill to explain why the Foxes tail is black and pinpoint AD 650 as the rise of warfare in the Andes. From here it's mostly downhill.

The book then drags us through his own internal mental processes of doubt and disbelief as we look at other myths. Through this long process we are subjected to forceful and unnecessary biases such as there is no proof that a matriarchal society ever existed anywhere in the world. Period. He returns to the subject of matriarchal disbelief many times calling it a big 'red flag'. We are lead through the authors admitted internal stubborness of this and many other issues.

Although I believe the book is correct in it's assocation with the Fox's tail being black being a celestial event ala Hamlets Mills, we spend so many words looking at other myths from a plethora of angles that we are forced into a single conclusion. That no one outside of a culture has any clue at what a given myth really means. The entire book is like running naked through the forest yelling out conclusions about myths which rightly are interpreted only by their creators.

At one point in the discussion of 'finding father' we hear a claim that the Andean man lacked a true heart with the ability to love while he was primarily a hunter within a matrilinear horticultural society. Andean man only gained his heart and full ability to love when the culture changed to fully agriculture and he had to stay at home with the wife and kids. Give me a break. To any Andean person alive this is rubbish. What kinds of conclusions and judgements can we make living outside the cultural box. It is this kind of subtle talk that is a jaguars hair short of prejudice and racism.

Ultimately, although if you like reading from the 'academic' view, this book does lead you through enough alleys to make you feel like the author knows what he is talking about, ultimately it fails from it's biases and from being rooted in a combination of sexism and western scientific dogma.

If the book you to really understand the Andean mind then the author would have had to undergo a process of breaking open his head and surrendering to the mystery of myth rather than trying to break open the myths using the rational mind. Myth is mythic. A view which ultimately escapes the author. It might be worth it to take this book on if you have a university paper to write. It will certainly scintillate your professor being of the same vocabulary and possibly biases. But if you are looking to expanding your understanding of the Inka or Andean cultures from a spiritual or mythic perspective then look elsewhere. Get yourself to South America, Peru, spend time with the shamans. Then you can learn what myth is really about. And how it lives today.

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^^ Download Kurt Weill: A Handbook, by David Drew

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Kurt Weill is one of the most celebrated of twentieth-century composers, but one whose more serious work is still little known. We know Weill for The Threepenny Opera, Mahagony, and The Seven Deadly Sins; for 'Mack the Knife' and 'September Song'; for his marriage to Lotte Lenya and his collaboration with Bertolt Brecht. This groundbreaking book, written by the foremost authority on Weill, provides the first definitive survey of his life and work.

• Sales Rank: #4376820 in Books
• Published on: 1987-08-20
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 6.50" w x 1.50" l,
• Binding: Hardcover
• 480 pages

From Library Journal
The leading Weill authority has completed the first of what promises to be the standard bibliographic, biographic, and critical study of this composer of two worlds. The central portion is a definitive catalog, arranged chronologically, of Weill's works, including those unpublished, unfinished, and juvenilia. For each, all essential information is provided, including notes on extant manuscripts, first performances, and synopses and song sequences of the stage works. Historical and critical remarks and accounts of bibliographic detective work make this much more than a reference. An extensive chronology and lengthy account of unfulfilled projects are included. Highly recommended. Steven J. Squires, Univ. of North Carolina at Chapel Hill Lib.
Copyright 1988 Reed Business Information, Inc.

From the Inside Flap
"This book will be widely recognized as one of the fundamental musicological resources for the study of Weill's music and life . . . [and] the basis for all future work in the field."—Kim K. Kowalke, The Eastman School of Music/University of Rochester

About the Author
David Drew is Director of New Music at Boosey & Hawkes Music Publishers in London.

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# Download PDF Contentious Traditions: The Debate on Sati in Colonial India, by Lata Mani

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Contentious Traditions analyzes the debate on sati, or widow burning, in colonial India. Though the prohibition of widow burning in 1829 was heralded as a key step forward for women's emancipation in modern India, Lata Mani argues that the women who were burned were marginal to the debate and that the controversy was over definitions of Hindu tradition, the place of ritual in religious worship, the civilizing missions of colonialism and evangelism, and the proper role of the colonial state. Mani radically revises colonialist as well as nationalist historiography on the social reform of women's status in the colonial period and clarifies the complex and contradictory character of missionary writings on India.

The history of widow burning is one of paradox. While the chief players in the debate argued over the religious basis of sati and the fine points of scriptural interpretation, the testimonials of women at the funeral pyres consistently addressed the material hardships and societal expectations attached to widowhood. And although historiography has traditionally emphasized the colonial horror of sati, a fascinated ambivalence toward the practice suffused official discussions. The debate normalized the violence of sati and supported the misconception that it was a voluntary act of wifely devotion.

Mani brilliantly illustrates how situated feminism and discourse analysis compel a rewriting of history, thus destabilizing the ways we are accustomed to look at women and men, at "tradition," custom, and modernity.

• Sales Rank: #8425005 in Books
• Published on: 1998-12-30
• Original language: English
• Number of items: 1
• Dimensions: 1.04" h x 6.25" w x 9.30" l,
• Binding: Hardcover
• 259 pages

Review
"Examines the documents of the colonial bureaucracy, the writings of the nineteenth-century indigenous male elite, the journals and publications of missionaries, and numerous European eyewitness accounts. She asks why the British first loudly denounced it, then covertly sanctioned it, and then officially banned it. . . . Contentious Traditions shows how divided the colonial bureaucrats were on the political costs of intervening in sati, how the grounds shifted in the arguments that the nineteenth-century Bengali reformer Rammonhun Roy made against sati in response to colonial pronouncements. how the Baptist missionaries took very different stances in addressing British and Indian audiences, and burning ricocheted between horror and fascination. . . . In citing the gruesome evidence that many satis were neither "voluntary" nor painless, and by assuming that the material causes for many satis make them by definition non-religious, Lata Mani discounts the religious ideology that might have motivated either the woman herself or the people forcing her to do it, or both."--Times Literary Supplement

From the Inside Flap
"An important and disturbing book. Lata Mani has reopened the archives on widow burning in colonial India. Her meticulous reading of contemporary texts . . . is exemplary for its conceptual sophistication. Unsettling and illuminating, this is feminist scholarship at its best."—Ranajit Guha, founding editor Subaltern Studies

"Mani's argument that the terms 'tradition' and 'modernity' are inscribed and reinscribed in the bodies of colonized women has forever changed our understandings of patriarchy, nationalism, and colonialism, and indeed redefined the conditions for 'knowing' with respect to these contexts."—Lisa Lowe, author of Immigration Acts

"Lata Mani's brilliant and persuasive analysis of official, native and missionary writings on sati in colonial India makes for a new beginning in contemporary analysis of colonial discourse.This is the book that many have waited for. A landmark publication in several fields at once: modern South Asian history, feminist critiques of colonial discourse, and cultural studies."—Dipesh Chakrabarty, University of Chicago

From the Back Cover
"An important and disturbing book. Lata Mani has reopened the archives on widow burning in colonial India. Her meticulous reading of contemporary texts . . . is exemplary for its conceptual sophistication. Unsettling and illuminating, this is feminist scholarship at its best." (Ranajit Guha, founding editor Subaltern Studies)

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0 of 0 people found the following review helpful.
Five Stars
By dheepa sundaram
excellent modern piece on sati.

6 of 9 people found the following review helpful.
an important intervention for the specialist and non specialist alike
By R. Govind
This book is important not only for those interested in 'sati' (whatever their motives might be) but also for anyone interested in exploring the difficult problems that confront the historian in her task. By carefully examining the debates around sati it argues, among other things, that the colonial state and many nationalists shared the same grounds. Although ostensively about women, Mani shows that the real issue was about the nature of Indian tradition.

I would ignore the above review. (only something 'definitive' can be tempered. to temper -- to modify, to soften, to tone down. and anyone who has read the book will know that Mani is on the 'side' of those who have tempered conventional narratives. 1765 (diwani rights) is of course again critical for anyone who knows any indian history)

13 of 37 people found the following review helpful.
The most dreadful tripe!
By Nicholas Corwin
While the subject matter is certainly important, this book throws little or no light upon it. In every way, Mani's writing exemplifies all that is wrong with academic and (pseudo) intellectual writing today: mind-numbing, dull prose, unnecessary prolixity, sentences larded up with undefined, ambiguous jargon, and countless ipse dixit assertions. In short, the work is unreadable. The author manages to offend every single precept of good writing so singlehandedly that one is almost tempted to wonder whether in fact she was perpetrating a hoax. If such is not the case, Mani needs to read Orwell's 1946 gem, "Politics and the English Language." Right now. Several times. Besides inflicting the most tortured syntax on her readers, Mani also manages to string words together so that they lack absolutely any substantive meaning whatsoever. Subjects and verbs are juxtaposed seemingly at random: quite illustrative are the last two sentences of the book's opening paragraph:

"No doubt the definitive status accorded to particular dates and events has been tempered by a reconceptualization of history as a set of processes that are uneven, contingent and contested, rather than an objective and objectifiable narrative of events. Even so, 1765 finalizes a crucial shift in the activities of the British trading company in the landmass that later assumed the name India."

Where to begin?! As Orwell so vividly put it, writing of this sort consists not of words used for their concrete meaning, but rather set phrases, tacked together like a prefab structure. How can a "reconceptualization" "temper" a "definitive status"? That simply makes no sense. Why the hair-splitting between "objective" and "objectifiable"? Note the dodge of using the passive voice right from the start--"has been tempered". By whom? Those who don't agree with you? Dead white males? Say so! For that matter, what exactly is an "objectifiable narrative"? Essentially, there is no such thing. Perhaps I am too much of a dullard to understand what "uneven, contingent and contested" processes are. Contingent upon what, exactly, contested by whom? The second sentence, mercifully enough, is somewhat shorter, but equally insipid. How can a span of time, e.g., a year (1765) "finalize" anything? A "year" cannot "do" anything as an active agent. It may symbolize or represent something (in which case the verb reflects human action, i.e., thought), but it cannot act on its own. For that matter, "finalize," a clumsy transmutation of a noun into a verb (reflecting the author's failure to come up with a real verb, such as "crowns" or even "concludes") is also bad English, although by now it has largely seeped its way into our debased tongue, so perhaps I ought to let that one slide.

And Mani somehow packed all that drivel into a single paragraph! Imagine trying to slog one's way through hundreds of similar pages. People who write in this reprehensible fashion do so for one reason: to obfuscate. The desire to do so usually springs from one or two motives: a) to disguise the fact that one has essentially nothing to say; or b) to disguise the fact that one's argument or thesis is pure bunkum, by bombarding readers so relentlessly with doubletalk that they throw their hands up in despair and cede everything to the author rather than trying to grapple with the text. One may or may not harbor an interest in sati and subaltern studies. Chances are, given Mani's palaver, that her arguments are flimsy and specious; but in any case, nobody will ever know for certain, no matter how much he or she slogs through this ghastly piece of gibbering claptrap. One cannot but conclude that Mani, a freelance writer, intended it that way, essentially to overwhelm her academic audiences with the verbal equivalent of a shock and awe attack.

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? Get Free Ebook Henry Edwards Huntington: A Biography, by James Thorpe

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A legendary book collector, a connoisseur of fine art, a horticulturist, and a philanthropist, Henry Edwards Huntington is perhaps best known as the founder of the world-renowned Huntington Library, Art Gallery, and Botanical Gardens in San Marino, California. James Thorpe's comprehensive biography of Huntington tells the richly human story of the man who became America's greatest book collector and was a leading figure in the development of southern California.

Henry Edwards Huntington was born in New York State in 1850. He began working at the age of 17, eventually moved to California, and in later years was hailed for his vision in developing the street railway system that created the structure of the Los Angeles area. Always a lover of books, Huntington acquired many spectacular volumes—among them the complete Gutenberg Bible on vellum and the library of the Earl of Bridgewater. He also built a splendid art collection and established a grand botanical garden on the grounds of the buildings that would house his art and books. Then, in an act of philanthropy seldom equaled, he gave these great treasures to the public.

The intimate side of Huntington's life appears in these pages, too. Thorpe has culled a vast trove of private letters, diaries, and other documents that reveal Huntington's exceptional personal qualities. The author's well-rounded biography of this unassuming yet gifted American is also richly evocative of the times in which Henry Edwards Huntington lived.

• Sales Rank: #1804432 in Books
• Published on: 1994-08-18
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x 1.63" w x 5.98" l, 2.42 pounds
• Binding: Hardcover
• 668 pages

From the Back Cover
A legendary book collector, a connoisseur of fine art, a horticulturist, and a philanthropist, Henry Edwards Huntington is perhaps best known as the founder of the world-renowned Huntington Library, Art Gallery and Botanical Gardens in San Marino, California. James Thorpe's comprehensive biography of Huntington tells the richly human story of a man who became America's greatest book collector and was leading figure in the development of southern California. Henry Edwards Huntington was born in New York State in modest circumstances in 1850. He began working at the age of seventeen, eventually moved to California, and in later years was hailed for his vision in developing the street railway system that created the structure of the Los Angeles area. Always a lover of books, Huntington acquired many spectacular volumes - among them the complete Gutenberg Bible on vellum and the library of the Earl of Bridgewater. He also built a splendid art collection and established a grand botanical garden on the grounds of the building that would house his art and books. Then, in an act of philanthropy seldom equaled, he gave these great treasures to the public. The intimate side of Huntington's life also appears in these pages. Thorpe has culled a vast trove of private letters, diaries, and other documents that reveal Huntington's exceptional personal qualities. While in many ways a study of character, Thorpe's well-rounded biography is also richly evocative of the times in which Henry Edwards Huntington lived.

About the Author
James Thorpe is a distinguished scholar and former director of the Huntington Library, Art Gallery, and Botanical Gardens from 1966-1983. He was Professor of English at Princeton for many years and has written numerous works on authors from Chaucer to Wallace Stevens. He is now a Senior Research Associate at the Huntington and lives in Pasadena, California.

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6 of 6 people found the following review helpful.
Solid biography of a Gilded Age tycoon
By Peter T. Wolf
Books about the famous American business tycoons is an acquired taste. The previous reviewer obviously does not have it for this is a very good biography. It covers the full range of Huntington's remarkable life in buisness, early California ( one of the best part of the book), art collecting, and his famous library. Thorpe has done excellent research and paints a wonderful picture of California in the early 20th century. What a time to have lived here !! In addition the author's portrayal of Huntington's awesome uncle Collis ( the creator of the family fortune) is very good. The photographs are also well chosen. Far from being bored, I could not put this book down.

8 of 10 people found the following review helpful.
Slow going
By Candace Scott
If you revere books and are an avowed bibliophile, then Henry Huntington is someone to admire and respect. His book collection is one of the premiere collections in the world, especially his concentration of incunabula. Huntington's mammoth collection is stored in the incomparable Huntington Gardens in San Marino, California - one of the most lovely places on earth. The permanent exhibitions include a first edition of Chaucer's Canterbury Tales and numerous Shakespearian folios. Huntington's massive collection of autographs is also on display.
The story of how Huntington amassed these priceless treasures is fascinating: the amount of zeal and money he poured into this endeavor makes for a world class story. Unfortunately, this book doesn't focus enough on this aspect of his life. The narrative becomes slow, plodding and ultimately tedious. One wishes that Thorpe would have concentrated more completely on Huntington's mania for book collecting, a passion to be envied for those of us not blessed with being multi-millionaires. Instead he veers off into areas not particularly interesting, though his history of early 20th century California is exceptional.
Huntington's story is not one full of scintillating orgies, nor was he a riveting personal character, like Hearst. But this book paints a rather dour, boring picture of one of the greatest American collectors.

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Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Republic and in the process reclaims the lost history of a number of artists who have not received adequate attention—not only because they were women but also because they continued to align themselves with the modes of realistic representation the Expressionists regarded as reactionary. Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles—prostitute, mother, housewife, the "New Woman" and "garçonne"—that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture—from film to poster art and advertising—to create a vivid portrait of women living and creating in Weimar Germany.

• Sales Rank: #2727884 in Books
• Published on: 1999-10-14
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .61" w x 5.98" l, .98 pounds
• Binding: Paperback
• 263 pages

Review
"This is an important book [and] has wide-ranging implications for any historian concerned with the balance of change and continuity and with the role and interpretation of Classical antiquity in art, in Renaissance studies and beyond."--"The Art Book

About the Author
Marsha Meskimmon is Senior Lecturer in the Department of Art and Design at Loughborough University. Her books include The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century (1996).

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7 of 8 people found the following review helpful.
Forgotten History
By A Customer
The years between the two World Wars in Germany were marked by a degree of turmoil in the nation's politics, economics and culture that was unprecedented at the time and remains unmatched to this day in the rest of Western European and American history. Unlike the 1960s, when social movements took place against a background of affluence, the rampant inflation and unemployment of the Weimar Republic meant there was no security whatsoever to counterbalance the tremendous changes penetrating to every corner of society. Everything which had once been fixed and solid became fluid and insubstantial; in Marx's words,"All that is solid melts into air". Gender roles in particular, which until that time had been enshrined as a kind of divine division of labour, were transformed from institutions into issues. Language lagged behind the pace of change: thus, that new breed of woman who cut her hair, played sport, took a job and followed fashion was simply called "die neue Frau". Similarly, the name garçonne was borrowed from French to describe the androgynous young city-dweller who made no secret of her bi- or homosexuality. The garçonne and the "neue Frau",while not strictly new in the sense of never having existed before, did attain a new level of visibility in public life and the mass media in the 1920s and 1930s. More often than not, they existed in combination with, rather than opposition to, traditional roles such as the mother, the Hausfrau and the prostitute. In Marsha Meskimmon's book We Weren't Modern Enough: Women Artists and The Limits of German Modernism, she explores the ways in which women perpetuated, refigured and fought against roles both old and new. Women artists occupied a unique position in the Weimar era. The nature of their work - painting or drawing in a studio, not employed as a sales assistant in a shop or a labourer in a factory - placed them at the borders between public and private, bourgeois and proletarian. While this ambiguity gave them more freedom to occupy numerous identities (wife, artist, mother) simultaneously, it also made their status more tenuous. Those married to male artists were sometimes able to negotiate an egalitarian partnership, but more often than not wives were overshadowed by their husbands and, in the case of Marta Hegemann and Anton Räderscheidt, sometimes even abandoned by them. As many of the women artists Meskimmon discusses were politically active - they were generally committed Socialists or Communists - their work featured realistic scenes of unemployment lines and hungry children gazing into gleaming shop windows, as well as satirical family portraits which mocked the bourgeois ideal of domesticity. Realism was not considered avant-garde in the 1920s and 1930s, however, and their work was classified as "women's art": hence painter Gerta Overbeck's lament that lends the book its title, "We weren't modern enough". During their lifetimes, many women artists supported themselves by drawing illustrations for children's books (this at least seemed "natural"). After their deaths, their work remained in the hands of their families or a handful of private collectors, mostly in Germany. With the exception of Käthe Kollwitz, who is not profiled in this book, most women artists of the era never found commercial success, and their names are forgotten today: Grethe Jürgens, Jeanne Mammon, Lou Albert-Lasard, Lotte Laserstein. By documenting this part of history generally omitted in favour of folklore about the Weimar Republic's leading male figures, Meskimmon contributes a great deal to our understanding of the period as well as women's ongoing struggle for equality and recognition. However, it is unfortunate that her book takes such a fascinating subject and renders it stiff and awkward in academic jargon. All too often, Meskimmon uses words such as "alterity", "polyvocality", and "located subject", when a less scholarly turn of phrase would convey the same idea in a more immediate way. In her attempt to resurrect the histories of artists who were written out of the canon because they were women, Meskimmon's gender-studies idiom runs the risk of condemning them to yet another special-interest ghetto. Nevertheless, by detailing the many identities which women chose and rejected in the Weimar era, Meskimmon reveals these artists as women who made their lives on their own terms.

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By Bernadette Hackett
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In this major new study of The Canterbury Tales, Donals Howard sets out to overturn a tradition in Chaucer criticism. Scholars have belived that Chaucer died leaving only a small part of The Canterbury Tales, a set of unrelated fragments, Mr. Howard argues that the work is "unfinished but complete," that we can reconstruct the idea that was in Chaucer's mind and is embodied in the work. His book is an anatomy of that idea; his approach turns from realistic and formalistic estimates of Chaucer's work and restores what has made it endure, its complexity and wonder.

• Sales Rank: #5197542 in Books
• Published on: 1976-01
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 403 pages

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Detailed comparative description of the function, form and rhetoric of lyrics in Latin, Greek and nine Medieval vernacular languages.

• Sales Rank: #1185660 in Books
• Published on: 1985-12-31
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 356 pages

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!! Free PDF Eating Spring Rice: The Cultural Politics of AIDS in Southwest China, by Sandra Teresa Hyde

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Eating Spring Rice is the first major ethnographic study of HIV/AIDS in China. Drawing on more than a decade of ethnographic research (1995-2005), primarily in Yunnan Province, Sandra Teresa Hyde chronicles the rise of the HIV epidemic from the years prior to the Chinese government's acknowledgement of this public health crisis to post-reform thinking about infectious-disease management. Hyde combines innovative public health research with in-depth ethnography on the ways minorities and sex workers were marked as the principle carriers of HIV, often despite evidence to the contrary.

Hyde approaches HIV/AIDS as a study of the conceptualization and the circulation of a disease across boundaries that requires different kinds of anthropological thinking and methods. She focuses on "everyday AIDS practices" to examine the links between the material and the discursive representations of HIV/AIDS. This book illustrates how representatives of the Chinese government singled out a former kingdom of Thailand, Sipsongpanna, and its indigenous ethnic group, the Tai-Lüe, as carriers of HIV due to a history of prejudice and stigma, and to the geography of the borderlands. Hyde poses questions about the cultural politics of epidemics, state-society relations, Han and non-Han ethnic dynamics, and the rise of an AIDS public health bureaucracy in the post-reform era.

• Sales Rank: #2027906 in Books
• Published on: 2007-01-16
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .70" w x 6.00" l, .90 pounds
• Binding: Paperback
• 290 pages

Review
"Makes a significant contribution to the field of study by weaving a rich ethnography into insightful theoretical discussions, combining medical anthropology with public health."--"China Information"

"The first major ethnographic study in the English language of the HIV/AIDS epidemic in the People's Republic of China. . . . A truly remarkable book."--"The Lancet"

From the Inside Flap
"This book is a fabulous read—ethnographically rich, theoretically engaged, and emotionally and intellectually captivating. The first major ethnographic study of its kind, the text is very clearly written and accessible. Hyde does a majestic job of drawing the reader into the places and practices described, bringing to stunning life the politics of AIDS on a border region."—Ralph Litzinger, author of Other Chinas: The Yao and the Politics of National Belonging

"Eating Spring Rice is a poignant analysis and welcomed contribution to both China Studies and to the analysis of public health in the context of the evolution of an AIDS epidemic. As a public health practitioner and anthropologist, Sandra Hyde has a keen eye and makes a compelling case for what might be done to improve the health of individuals. Hyde shows how the particular modes that social liberalization takes in China will have unforseeable consequences, offering a vivid picture that requires us to rethink public health and epidemics in radically new ways."—Cindy Patton, author of Globalizing AIDS

"Sandra Hyde brings the fruits of a decade of intensive engagement in China's Yunnan province to this beautifully crafted account of the everyday practices by which AIDS and its social imaginary remake ethnicity, region, gender, and governance. Bridging medical anthropology and public health, and debates on the organization of sex work and on the Chinese politics of race and place, Eating Spring Rice should be required reading for anyone who would address the impact of emergent plague measures (SARS, avian flu) in China or elsewhere"—Lawrence Cohen, author of No Aging in India: Alzheimer's, The Bad Family, and Other Modern Things

"Sandra Hyde's analysis of gender, class, language, and cultural politics is as trenchant as her challenge to China-centrism is timely. A remarkable critical accomplishment."—Rey Chow, Andrew W. Mellon Professor of the Humanities, Brown University

About the Author
Sandra Teresa Hyde is Associate Professor of Anthropology and Social Studies of Medicine at McGill University.

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0 of 0 people found the following review helpful.
Five Stars
By J
A better introduction to HIV/AIDS in China you will not find. Highly, highly recommend.

1 of 3 people found the following review helpful.
A trip on China and AIDS
By Garance Upham
Spring rice reports on the history of HIV in China. Data I just read indicates that the HIV epidemic is correlated with dirty needle use : IVDU or blood plasma donation. In some provinces up to 60% of former blood donnors, mostly peasants, have HIV! Intravenous drug use brought HIV in China, but the spread into the general population was via unsafe blood plasma donations (not transfusions. The book reads like a novel, as well. Another book "Points to Consider" of David Gisselquist review the facility with which HIV spread in Africa via dirty care. "Eating spring rice" quotes Chinese local officials estimates of up to a million or more cases from dirty blood collection. Today, after talks at high level, the figures now stand at 50 000.....

1 of 1 people found the following review helpful.
Excellent book
By Anon
This book is excellent! It bridges epidemiology and anthropology better than any text I have read, pointing out the biases, strengths, and implications of methods in each field.

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? Ebook Assignment: Shanghai: Photographs on the Eve of Revolution (Series in Contemporary Photography)From University of California Press

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Shipping out to China in December 1947 with three ten-year-old German cameras and a plum assignment from Life magazine, Jack Birns was fulfilling a boyhood dream. The reality was something else: refugees and prostitutes, soldiers and beggars, street executions and urban protests photographed in difficult and often dangerous circumstances amidst the poverty, corruption, and chaos of an expanding civil war. By then the ruling Nationalist Party had been battling the Communist threat for more than two decades, and Birns focused his camera on the human drama unfolding as war pressed ever closer to the country's financial, cultural, and commercial capital. His effort to show China's misery up close ran afoul of Time-Life publisher Henry R. Luce's fervent anti-communism, and for half a century many of these historic photographs lay unpublished in Time-Life's archives. Printed here for the first time, they offer a graphic vision of a great city, Shanghai, poised on the precipice of political revolution.

Seen through the lens of hindsight, Birns's photographs give us a sense not only of what China was like more than fifty years ago, but also of why the warfare, weariness, and desperation of the time proved such fertile soil for communist revolution. Today these everyday scenes of ordinary people—pedicab drivers, street vendors, bar girls, police, politicians, prisoners—tell a story of national resilience and dignity in the midst of enveloping poverty, repression, and fear. Birns's stark black and white photographs capture the dramatic end of an era, but they also look forward, letting us glimpse how Shanghai's past prefigures the city's commercial and cultural revival in the 1990s.

• Sales Rank: #1225457 in Books
• Published on: 2003-10-01
• Original language: English
• Number of items: 1
• Dimensions: 13.25" h x .80" w x 9.00" l, 3.04 pounds
• Binding: Hardcover
• 144 pages

Review
"Despite the high esthetic value and poignancy of the images in Assignment Shanghai, most were buried because of political sensitivities at the time. To put it bluntly, Birns portrayed all too accurately China's troubled state on the eve of the communist victory in 1949. . . . In fact, the pictures in Assignment Shanghai are notable for their foreshadowing of events to come. . . . They certainly help us make sense of China's political traumas in a way that earlier readers would no doubt have welcomed, too."--"Newsweek International"

From the Inside Flap
"For over half a century, Americans have been pondering the reasons for the swift collapse of the Nationalist Chinese forces during 1948 and early 1949. Jack Birns’s agile lens brings many things into focus for us: the manifold levels of urban poverty, the breakdown of any pretense to social order, the random brutality meted out to suspected Communists, and the unsparing distance between foreign privilege and domestic deprivation. This book is a powerful addition to our pictorial and emotional record of those bitter months."—Jonathan D. Spence, author of The Search for Modern China

"As a journalist who covered the Chinese civil war and reported the Communist siege of Mukden and the fall of Nanjing and Shanghai in 1949, I can testify to the penetrating authenticity of these Jack Birns photographs, which capture the essence of the agonizing human upheaval on the eve of Mao Zedong’s ascent to power. Birns has given us a stunning pictorial record of focal events during a world-changing revolution."—Seymour Topping, former managing editor of the New York Times and SanPaolo Professor Emeritus of International Journalism, Columbia University

From the Back Cover
"For over half a century, Americans have been pondering the reasons for the swift collapse of the Nationalist Chinese forces during 1948 and early 1949. Jack Birns's agile lens brings many things into focus for us: the manifold levels of urban poverty, the breakdown of any pretense to social order, the random brutality meted out to suspected Communists, and the unsparing distance between foreign privilege and domestic deprivation. This book is a powerful addition to our pictorial and emotional record of those bitter months."--Jonathan D. Spence, author of "The Search for Modern China

"As a journalist who covered the Chinese civil war and reported the Communist siege of Mukden and the fall of Nanjing and Shanghai in 1949, I can testify to the penetrating authenticity of these Jack Birns photographs, which capture the essence of the agonizing human upheaval on the eve of Mao Zedong's ascent to power. Birns has given us a stunning pictorial record of focal events during a world-changing revolution."--Seymour Topping, former managing editor of the New York Times and SanPaolo Professor Emeritus of International Journalism, Columbia University

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10 of 11 people found the following review helpful.
valuable images of a bygone era
By historybuff
While very disturbing, to say the least, the pictures in this book are a necessary part of a history that remains with us. The privileged life for a few in Shanghai, contrasted with the starving masses eking out a living in their midst. Draconic measures, executions and riots, an emigre community divorced from the reality of life in China. In seeing these pictures you see the beginning of the end of a regime--to be substituted by another of unknown pedigree. But the heartening thing is that through the pain and suffering you do not see people giving up. Look at these pictures and get a shot of adrenaline!!

2 of 2 people found the following review helpful.
A must-own for anyone interested in postwar Shanghai and Communist China
By Gromer
The young LIFE photographer Jack Birns, himself a larger-than-life adventurer photographer (Wiki his bio!), took these pictures at the risk of his life. However, LIFE never ran them for political reasons. According to the stories, he was literally still snapping away as American aircraft hauled him out of advancing Communist troops!

These pictures prove that however much China laments the Japanese atrocities inflicted upon the Chinese civilian population during WWII, after the war China inflicted the same atrocities on its own people. In these pages, Birns captured the Chinese troops beheading or executing at gunpoint Chinese soldiers and civilians alike. He shot piles of Chinese corpses by the riverbank.Yes, the war ended for everyone in the world in 1945, but not for China. China did not really "win" WWII. While Americans were busy at work helping postwar Japan get back on its feet, Chinese civilians continued to suffer unimaginable cruelty after 1945 right up to 1970s.

This is an important contribution to the narrative of modern day China. While it is popular today to trash modern China for being despotic and ultra-rich, I hope that the world remembers that it was the Chinese civilians who paid the ultimate price to get China to where it is today.

Birns' photos also prove how Westernized Shanghai was during the 1930s and 1940s. You can see from the billboards that American companies and American films had already penetrated the Chinese consumer market with everyday products and films, before the Communist Era reversed the cultural tide. This is evidence of the cosmopolitanism of urban Chinese culture early in the 20th century: an important reminder for those who think China is "backward" and had only recently discovered a taste for Western luxury goods.

Kudos for UC Berkeley for printing these photos towards the end of Birns' life. He passed away shortly after this book came out. In particular, this book was invaluable for Americans and other foreigners who lived in 1940s Shanghai, especially European Jews who had relocated there to get away from Hitler. They had walked these very streets.

This moving and incredible publication is a treasured addition to any bookshelf.

1 of 1 people found the following review helpful.
Shanghai memories reignited
By Babi
Assignment: Shanghai: Photographs on the Eve of Revolution reignited memories for all those that lived through the turbulent years of post WW11 Shanghai. The clear and graphical portrayal of those times came back to life. Elderly friends that lived in Shanghai at the time of this photographic history had tears in their eyes with the turning of each page. Truly if you want to understand what happened to China and in particular Shanghai -the Paris of the East as it was known- glance at these images and history will be brought to life.

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