The world view of the Iroquois League or Confederacy—the Mohawk, Oneida, Onondaga, Cayuga, Seneca, and Tuscarora nations—is based on a strong cosmological belief system. This is especially evident in Iroquois medical practices, which connect man to nature and the powerful forces in the supernatural realm. Iroquois Medical Botany is the first guide to understanding the use of herbal medicines in traditional Iroquois culture. It links Iroquois cosmology to cultural themes by showing the inherent spiritual power of plants and how the Iroquois traditionally have used and continue to use plants as remedies. After an introduction to the Iroquois doctrine of the cosmos, authors James Herrick and Dean Snow examine how ill health directly relates to the balance and subsequent disturbance of the forces in one’s life. They next turn to general perceptions of illness and the causes of imbalances, which can result in physical manifestations from birthmarks and toothaches to sunstroke and cancer. In all, they list close to 300 phenomena. Finally, the book enumerates specific plant regimens for various ailments with a major compilation from numerous Iroquois authorities and sources of more than 450 native names, uses, and preparations of plants.
Besides Walt Disney, no one seemed more key to the development of animation at the Disney Studios than Ward Kimball (1914–2002). Kimball was Disney’s friend and confidant. In this engaging, cradle-to-grave biography, award-winning author Todd James Pierce explores the life of Ward Kimball, a lead Disney animator who worked on characters such as Mickey Mouse, Donald Duck, Jiminy Cricket, the Cheshire Cat, and the Mad Hatter. Through unpublished excerpts from Kimball’s personal writing, material from unpublished interviews, and new information based on interviews conducted by the author, Pierce defines the life of perhaps the most influential animator of the twentieth century. As well as contributing to classics such as Snow White and the Seven Dwarfs and Pinocchio, from the late 1940s to the early 1970s, Kimball established a highly graphic, idiosyncratic approach to animation alongside the studio’s more recognizable storybook realism. In effect, Ward Kimball became the only animator to run his own in-studio production team largely outside of Walt Disney’s direction. In the 1950s and 1960s, he emerged as a director and producer of his own animation, while remaining inside Disney’s studio. Through Kimball, the studio developed a series of nonfiction animation programs in the 1950s that members of Congress pointed to as paving the way for NASA. The studio also allowed Kimball’s work to abandon some ties to conventional animation, looking instead to high art and graphic design as a means of creating new animated forms, which resulted in films that received multiple Academy Award nominations and two awards. Throughout his life, Kimball was a maverick animator, an artist who helped define the field of American animation, and a visionary who sought to expand the influence of animated films.
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