With near-mythical forests of birch and pine, the Nordic and Baltic countries boast a rich tradition of religious wood carving that is in many ways emblematic of their cultures. Sacred to the Touch examines the spiritual and intellectual projects of six twentieth- and twenty-first-century artists who have adapted and revitalized this tradition. Through interviews and analyses, folklorist Thomas A. DuBois explores the notions of continuity with the past that these artists seek to express through their art, examining the forest church of late Finnish artist Eva Ryynänen, the carvings of Norwegian Americans Phillip Odden and Else Bigton that decorate a planned replica of a stave church in Southern California, the medieval Catholic-rooted work of Lutheran Sister Lydia Mariadotter (Swedish), the grave markers and roadside figures of Algimantas Sakalauskas (Lithuanian), and the merging of Lutheran and pre-Christian traditions by Lars Levi Sunna (Sámi). With color photographs and detailed descriptions, Sacred to the Touch reveals the interplay of tradition with personal and communal identity that characterize modern religious carving in Northern Europe.
Digital media–GIFs, films, TED Talks, tweets, and more–have become integral to daily life and, unsurprisingly, to Indigenous people’s strategies for addressing the historical and ongoing effects of colonization. In Sámi Media and Indigenous Agency in the Arctic North, Thomas DuBois and Coppélie Cocq examine how Sámi people of Norway, Finland, and Sweden use media to advance a social, cultural, and political agenda anchored in notions of cultural continuity and self-determination. Beginning in the 1970s, Sámi have used Sámi-language media—including commercially produced musical recordings, feature and documentary films, books of literature and poetry, and magazines—to communicate a sense of identity both within the Sámi community and within broader Nordic and international arenas. In more contemporary contexts—from YouTube music videos that combine rock and joik (a traditional Sámi musical genre) to Twitter hashtags that publicize protests against mining projects in Sámi lands—Sámi activists, artists, and cultural workers have used the media to undo layers of ignorance surrounding Sámi livelihoods and rights to self-determination. Downloadable songs, music festivals, films, videos, social media posts, images, and tweets are just some of the diverse media through which Sámi activists transform how Nordic majority populations view and understand Sámi minority communities and, more globally, how modern states regard and treat Indigenous populations.
Since its initial publication in the early nineteenth century, Elias Lonnrot’s Finnish epic Kalevala has attracted international interest and scholarship. However, the author comments that the distorting lenses of translation, cultural difference and historical distance, have rendered the work a cryptic and often misinterpreted text outside of its country of origin. Even within Finland, scholars have found it difficult at times to judge the relation of the Kalevala to its oral sources. Lonnrot’s meticulous notes and discussions of intent and accomplishment make clear what he changed and how he went about it, but give us less inkling of why. This study's view is that the key to understanding Lonnrot’s changes lies in Romantic aesthetics and in the intellectual and socio-political agendas which they encode. Lonnrot created a Romantic epic out of Baltic-Finnic folk poetry, an epic complete with the narrative, generic, gendered and political characteristics of literary epics in nineteenth century’ Europe.
Digital media–GIFs, films, TED Talks, tweets, and more–have become integral to daily life and, unsurprisingly, to Indigenous people’s strategies for addressing the historical and ongoing effects of colonization. In Sámi Media and Indigenous Agency in the Arctic North, Thomas DuBois and Coppélie Cocq examine how Sámi people of Norway, Finland, and Sweden use media to advance a social, cultural, and political agenda anchored in notions of cultural continuity and self-determination. Beginning in the 1970s, Sámi have used Sámi-language media—including commercially produced musical recordings, feature and documentary films, books of literature and poetry, and magazines—to communicate a sense of identity both within the Sámi community and within broader Nordic and international arenas. In more contemporary contexts—from YouTube music videos that combine rock and joik (a traditional Sámi musical genre) to Twitter hashtags that publicize protests against mining projects in Sámi lands—Sámi activists, artists, and cultural workers have used the media to undo layers of ignorance surrounding Sámi livelihoods and rights to self-determination. Downloadable songs, music festivals, films, videos, social media posts, images, and tweets are just some of the diverse media through which Sámi activists transform how Nordic majority populations view and understand Sámi minority communities and, more globally, how modern states regard and treat Indigenous populations.
With near-mythical forests of birch and pine, the Nordic and Baltic countries boast a rich tradition of religious wood carving that is in many ways emblematic of their cultures. Sacred to the Touch examines the spiritual and intellectual projects of six twentieth- and twenty-first-century artists who have adapted and revitalized this tradition. Through interviews and analyses, folklorist Thomas A. DuBois explores the notions of continuity with the past that these artists seek to express through their art, examining the forest church of late Finnish artist Eva Ryynänen, the carvings of Norwegian Americans Phillip Odden and Else Bigton that decorate a planned replica of a stave church in Southern California, the medieval Catholic-rooted work of Lutheran Sister Lydia Mariadotter (Swedish), the grave markers and roadside figures of Algimantas Sakalauskas (Lithuanian), and the merging of Lutheran and pre-Christian traditions by Lars Levi Sunna (Sámi). With color photographs and detailed descriptions, Sacred to the Touch reveals the interplay of tradition with personal and communal identity that characterize modern religious carving in Northern Europe.
Nestled between the Allegheny and Blue Ridge Mountains, Virginia's Shenandoah Valley enjoyed tremendous prosperity before the Civil War. This valuable stretch of land - called "the Breadbasket of the Confederacy" due to its rich soil and ample harvests - became the source of many conflicts between the Confederate and Union armies. Of the thirteen major battles fought here, none was more influential than the Battle of Cedar Creek. On October 19, 1864, General Philip Sheridan's Union troops finally gained control of the valley, which eliminated the Shenandoah as a supply source for Confederate forces in Virginia, ended the valley's role as a diversionary theater of war and stopped its use as an avenue of invasion into the North
With our American Philosophy and Religion series, Applewood reissues many primary sources published throughout American history. Through these books, scholars, interpreters, students, and non-academics alike can see the thoughts and beliefs of Americans who came before us.
For Introductory courses in Personal Finance. This new edition of Brown's best-selling text provides students with the basic principles, concepts, and vocabulary necessary to cope with the tricky world of personal finance. In six previous editions, instructors uniformly praised the accessible writing style and strong pedagogical features. The seventh edition has been further enhanced with the addition of new boxed material and updated lists of internet sites, the incorporation of current data and statistics, the addition of hot topics such as day trading and internet banking, and free electronic worksheets using Excel - downloadable from the Companion Website. In addition, the supplements that accompany the text have been improved.
Thomas DuBois unravels for the first time the history of the Nordic religions in the Viking Age. "A seminal study of Nordic religions that future scholars will not be able to avoid."—Church History
The Sámi are Europe’s only recognized indigenous people living across regions of Norway, Sweden, Finland and the Russian Kola peninsula. The subjects of a history of Christianization, land dispossession, and cultural assimilation, the Sámi have through their self-organization since World War II worked towards Sámi political self-determination across the Nordic states and helped forge a global indigenous community. Accompanying this process was the emergence of a Sámi music scene, in which the revival of the distinct and formerly suppressed unaccompanied vocal tradition of joik was central. Through joiking with instrumental accompaniment, incorporating joik into forms of popular music, performing on stage and releasing recordings, Sámi musicians have played a key role in articulating a Sámi identity, strengthening Sámi languages, and reviving a nature-based cosmology. Thomas Hilder offers the first book-length study of this diverse and dynamic music scene and its intersection with the politics of indigeneity. Based on extensive ethnographic research, Hilder provides portraits of numerous Sámi musicians, studies the significance of Sámi festivals, analyzes the emergence of a Sámi recording industry, and examines musical projects and cultural institutions that have sought to strengthen the transmission of Sámi music. Through his engaging narrative, Hilder discusses a wide range of issues—revival, sovereignty, time, environment, repatriation and cosmopolitanism—to highlight the myriad ways in which Sámi musical performance helps shape notions of national belonging, transnational activism, and processes of democracy in the Nordic peninsula. Sámi Musical Performance and the Politics of Indigeneity in Northern Europe will not only appeal to enthusiasts of Nordic music, but, by drawing on current interdisciplinary debates, will also speak to a wider audience interested in the interplay of music and politics. Unearthing the challenges, contradictions and potentials presented by international indigenous politics, Hilder demonstrates the significance of this unique musical scene for the wider cultural and political transformations in twenty-first-century Europe and global modernity.
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