Spring and summer are my mother's time, autumn and winter are my husband's. What is left for me? Persephone spends six months of the year under the ground with her husband, king of the dead, and six months on earth with her mother, goddess of the harvest. It has been this way for nine thousand years, since the deal was struck. But when she resurfaces this spring, something is different. Rains lash the land, crops grow out of season or not at all, there are people trying to build a road through the woods, and her mother does not seem able to stop them. The natural world is changing rapidly and even the gods have lost control. While Demeter tries to regain her powers and fend off her daughter's husband, who wants to drag his queen back underground for good, Persephone finally gets a taste of freedom, joining a group of protestors. Used to blinking up at the world from below, as she looks down on the earth for the very first time from the treetops with activist Snow, Persephone realises that there are choices she can make for herself. But what will these choices mean for her mother, her husband, and for the new shoots of life inside her? No Season but the Summer takes a classic myth and turns it on its head, asking what will happen when our oldest stories fail us, when all the rules have changed. It is, above all, a book about choice.

Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs. In this region African Americans maintain a social world of their own creation. Their cultural performances embrace some of the most pervasive forms of African American sacred music--spirituals, common meter, Sacred Harp, shape-note, traditional, and contemporary gospel. Moreover, the contexts in which they sing include present-day observations such as the Twentieth of May (Emancipation Day), Burial League Turnouts, and Fifth Sunday.

Rather than tracing the evolution of African American sacred music, this ethnographic study focuses on contemporary cultural performances, almost all by women, which embrace all forms. These women promote a female-centered theology to ensure the survival of their communities and personal networks. They function in leadership roles that withstand the test of time. Their spiritual activism presents itself as a way of life.

In Wiregrass Country, "You don't have to sing like an angel" is a frequently expressed sentiment. To these women, "good" music is God's music regardless of the manner delivered. Therefore, "Downhome Gospel" presents gospel music as being more than a transcendent sound. It is local spiritual activism that is writ large. Gospel means joy, hope, expectation, and the good news that makes the soul glad.

The divisive and malleable nature of history is at its most palpable in situations of intractable conflict between nations or peoples. In these circumstances, how each party interprets or appropriates historical accounts informs their understanding of the roots of the conflict as well as how they relate to and interact with their adversaries. This book aims to advance our understanding of the significance of history in informing the relationship between parties involved in intractable conflicts through the concept of thick recognition and by exploring its relevance specifically in relation to Israel. It suggests that the recognition of crucial identity elements, such as widely shared understandings of history, might increase the potential for relationship transformation in intractable conflicts. More widely, the book discusses how the Israeli debates over New History can be understood as related to processes of conflict transformation as well as seeking answers to what can be seen as facilitating and inhibiting circumstances for the introduction of new understandings of history in the debates on Israeli New History.

The legend of Prester John has received much scholarly attention over the last hundred years, but never before have the sources been collected and coherently presented to readers. This book now brings together a fully-representative set of texts setting out the many and various sources from which we get our knowledge of the legend. These texts, spanning a time period from the Crusades to the Enlightenment, are presented in their original languages and in English translation (for many it is the first time they have been available in English). The story of the mysterious oriental leader Prester John, ruler of a land teeming with marvels who may come to the aid of Christians in the Levant, held an intense grip on the medieval mind from the first references in twelfth-century Crusader literature and into the early-modern period. But Prester John was a man of shifting identity, being at different times and for different reasons associated with Chingis Khan and the Mongols, with the Christian kingdom of Ethiopia, with China, Tibet, South Africa and West Africa. In order to orient the reader, each of these iterations is explained in the comprehensive introduction, and in the introductions to texts and sections. The introduction also raises a thorny question not often considered: whether or not medieval audiences believed in the reality of Prester John and the Prester John Letter. The book is completed with three valuable appendices: a list of all known references to Prester John in medieval and early modern sources, a thorough description of the manuscript traditions of the all-important Prester John Letter, and a brief description of Prester John in the history of cartography.

In his latest book, fairy tales expert Jack Zipes explores the question of why some fairy tales "work" and others don't, why the fairy tale is uniquely capable of getting under the skin of culture and staying there. Why, in other words, fairy tales "stick." Long an advocate of the fairy tale as a serious genre with wide social and cultural ramifications, Jack Zipes here makes his strongest case for the idea of the fairy tale not just as a collection of stories for children but a profoundly important genre.

Why Fairy Tales Stick contains two chapters on the history and theory of the genre, followed by case studies of famous tales (including Cinderella, Snow White, and Bluebeard), followed by a summary chapter on the problematic nature of traditional storytelling in the twenty-first century.

Originally published in 1996, this book is a study of two of the central themes of medieval German mythology, the Dietrich and Nibelung legends. It traces its two legendary topics form their historical roots during the last centuries of the Roman Empire to the medieval texts that make them known to us. Many of the medieval texts have never been translated into English or even modern German. A synopsis of each work is therefore included so that the reader can form an idea of the content of the works in question. The book takes a text-oriented approach. The book includes a chronological chart which puts most of the texts and literary works discussed in a European and world context.

Recording Oral History, now available in its third edition, provides a comprehensive guide to oral history for researchers and students in diverse fields including history, sociology, anthropology, education, psychology, social work, and ethnographic methods. Writing in a clear, accessible style, Valerie Yow builds on the foundations laid in prior editions of her widely used and highly regarded text to tackle not just the practicalities of interviewing but also the varied ethical, legal, and philosophical questions that can arise. The text-now twelve chapters-allows for dedicated discussion of both legalities and ethics. Other new material include recent research on how brain functions affect memory, more comprehensive demonstration of how to analyze an interview, and details on making the most of technology, both old and new. Each chapter concludes with updated and annotated Recommended Readings and tailored appendixes address new developments, such as institutional review boards and the Oral History Association's new Principles and Best Practices.

Folktales in India have been told, heard, read and celebrated for many centuries. In breaking new ground, Indian folktales have been reread and examined in the light of the Mother Earth discourse as it manifests in the lifeworlds of women, nature and language. The book introduces ecofeminist criticism and situates it within an innovative folktale t

A delightful selection from one of Europe's richest folk literatures, "The Golden Apple "will appeal to a wide range of readers, including children. Admirers of Vasko Popa's poetry will find it rewarding for the insight it gives into his sources. Illustrated with traditional Serbian rug-motifs.

..". splendid and innovative ethnography ... highly topical, well written, intellectually highly interesting, and often avant-garde ... sophisticated and honest discussions ..." . Joanna Overing, London School of Economics The Arakmbut are an indigenous people who live in the Madre de Dios region of thesoutheastern Peruvian rain forest. Since their first encounters with missionaries in the 1950s, they have shown resilience and a determination to affirm their identity in the face of many difficulties. During the last fifteen years, Arakmbut survival has been under threat from a goldrush that has attracted hundreds of colonists onto their territories. This trilogy of books traces the ways in which the Arakmbut overcome the dangers that surround them: their mythology and cultural strength; their social flexibility; and their capacity to incorporate non-indigenous concepts and activities into their defence strategies. Each area is punctuated by the constant presence of the invisible spirit, which provides a seamless theme connecting the books to each other. Following the Arakmbuts' recommendation, the author uses their three greatest myths to introduce social, cultural and historical aspects of their lives. He ends with a discussion of the relationship between myth and history showing how the Arakmbut recreate their myths at the dramatic moments of their history.

NAMED A BEST BOOK OF 2022 BY PUBLISHERS WEEKLY After a few billion years of bearing witness to life on Earth, of watching one hundred billion humans go about their day-to-day lives, of feeling unbelievably lonely, and of hearing its own story told by others, The Milky Way would like a chance to speak for itself. All one hundred billion stars and fifty undecillion tons of gas of it. It all began some thirteen billion years ago, when clouds of gas scattered through the universe's primordial plasma just could not keep their metaphorical hands off each other. They succumbed to their gravitational attraction, and the galaxy we know as the Milky Way was born. Since then, the galaxy has watched as dark energy pushed away its first friends, as humans mythologized its name and purpose, and as galactic archaeologists have worked to determine its true age (rude). The Milky Way has absorbed supermassive (an actual technical term) black holes, made enemies of a few galactic neighbors, and mourned the deaths of countless stars. Our home galaxy has even fallen in love. After all this time, the Milky Way finally feels that it's amassed enough experience for the juicy tell-all we've all been waiting for. Its fascinating autobiography recounts the history and future of the universe in accessible but scientific detail, presenting a summary of human astronomical knowledge thus far that is unquestionably out of this world.