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"Long before the age of exploration, wild men inhabited the European imagination. These fascinating, hairy creatures have a long history of representation in art, literature, and folklore, appearing among other guises as satyrs and fauns in ancient Greece, mythical forest - and mountain-dwellers in the Middle Ages, and Shakespeare's Caliban and Cervantes's Cardenio in the Renaissance. Wild folk also captured the attention of naturalists, who investigated homo ferus and homo sylvestris, and philosophers, who elaborated the image of the noble savage." "In Wild Men in the Looking Glass, Roger Bartra searches out the roots of the European wild man myth and explores its long evolution. Turning the tables on those who suggest that the primitive peoples "discovered" and colonized by European explorers gave rise to the myth, Bartra finds that the wild man myth preceded and helped shape European reactions to real peoples. Indeed, he shows that the wild man underpins the notion of civilization on which much of Western identity has been based. The man we recognize as "civilized" has not been able to take a single step without the shadow of the wild man at his heel."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Highlighting the photographer's unique collection of "paper bag" images from the 1950s and 1960s, this series of individual and group portraits recaptures the whimsy and humor of this period in photography. 17,500 first printing.
In the first comprehensive study of Roman ancestor masks in English, Harriet Flower explains the reasons behind the use of wax masks in the commemoration of politically prominent family members by the elite society of Rome. Flower traces the functional evolution of ancestor masks, from theirfirst attested appearance in the third century BC to their last mention in the sixth century AD, through the examination of literary sources in both prose and verse, legal texts, epigraphy, archaeology, numismatics, and art. It is by putting these masks, which were worn by actors at the funerals ofthe deceased, into their legal, social, and political context that Flower is able to elucidate their central position in the media of the time and their special meaning as symbols of power and prestige.
• Reveals how mask rituals are akin to shamanic journeying and allow the mask wearer to personify an ancestral presence, spirit, deity, or power • Examines animal guising and shows how mask customs are tied to creation myths and the ancestral founders of a people, tribe, city, or nation • Looks at morris dancers and mummers in the UK, Krampuslauf and Perchtenlauf in Germanic areas, the Gorgon myths of Greece, Norse Berserker rituals, and the annual Black Forest rite to awaken ensouled masks every spring There is a spiritual power in masks that transports one into realms unseen and gives voice to things unspoken. Within the context of ritual, putting on a mask places the wearer at the intersection between the present and the past, the living and the dead, this world and the Otherworld. Masks make it possible to activate ancient archetypes, with the mask wearer reanimating or personifying an ancestral presence or spirit, a deity or power, an animal or a being of the eldritch world. In this illustrated study, Nigel Pennick explores the magical and spiritual aspects of mask wearing from ancient times to the present. He examines the many mask traditions around Europe and shows how mask rituals are similar to shamanic journeying and near-death experiences and can induce ecstatic states that allow the power signified by the mask to take possession of the individual wearing it. He also looks at the practice of dressing up as sacred animals and mask wearing as it relates to ostenta, events that occur suddenly and without warning that are considered a token or sign from the Otherworld. Unveiling the sacred power of masks, the author shows how masks allow us to transport into realms unseen, embody ancestors and otherworldly entities, and connect with traditions that stretch back to time immemorial.