In the enchanted world of Braj, the primary pilgrimage center in north India for worshippers of Krishna, each stone, river, and tree is considered sacred. In Climate Change and the Art of Devotion, Sugata Ray shows how this place-centered theology emerged in the wake of the Little Ice Age (ca. 1550–1850), an epoch marked by climatic catastrophes across the globe. Using the frame of geoaesthetics, he compares early modern conceptions of the environment and current assumptions about nature and culture. A groundbreaking contribution to the emerging field of eco–art history, the book examines architecture, paintings, photography, and prints created in Braj alongside theological treatises and devotional poetry to foreground seepages between the natural ecosystem and cultural production. The paintings of deified rivers, temples that emulate fragrant groves, and talismanic bleeding rocks that Ray discusses will captivate readers interested in environmental humanities and South Asian art history. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/climate-change-and-the-art-of-devotion

In the enchanted world of Braj, the primary pilgrimage center in north India for worshippers of Krishna, each stone, river, and tree is considered sacred. In Climate Change and the Art of Devotion, Sugata Ray shows how this place-centered theology emerged in the wake of the Little Ice Age (ca. 1550?1850), an epoch marked by climatic catastrophes across the globe. Using the frame of geoaesthetics, he compares early modern conceptions of the environment and current assumptions about nature and culture. A groundbreaking contribution to the emerging field of eco?art history, the book examines architecture, paintings, photography, and prints created in Braj alongside theological treatises and devotional poetry to foreground seepages between the natural ecosystem and cultural production. The paintings of deified rivers, temples that emulate fragrant groves, and talismanic bleeding rocks that Ray discusses will captivate readers interested in environmental humanities and South Asian art history. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/climate-change-and-the-art-of-devotion

As societies around the world are challenged to respond to ever growing environmental crises, it has become increasingly important for activists, policy makers, and environmental practitioners to understand the dynamic relationship between environmental movements and the state. In communist Eastern Europe, environmental activism fueled the rise of democratic movements and the overthrow of totalitarianism. Yet, as this study of environmentalism in Slovakia shows, concern for the environment declined during the post-communist period, an ironic victim of its own earlier success. Through ethnographic interviews and archival materials, Edward Snajdr explains why Slovakia's ecology movement, so strong under socialism, fell apart so rapidly despite the persistence of serious environmental problems in the region. Synthesizing theory in anthropology and political ecology, he suggests that the fate of environmentalism in Slovakia marks the beginning of a global post-ecological age, where nature is culturally maginalized in new ways. In addition to its significance for policy makers, this book will be a valuable resource for anthropologists, sociologists, political ecologists, and scholars of East European and post-Soviet studies.

You've heard the story, but it never loses its magic: Lucy discovers a world beyond the wardrobe, and before long Peter, Susan and Edmund are drawn along with her into an enchanted adventure through the land of Narnia. Join the characters of this classic tale on a devotional adventure of your own as Sarah Arthur, best-selling author of

In Being and Place among the Tlingit, anthropologist Thomas F. Thornton examines the concept of place in the language, social structure, economy, and ritual of southeast Alaska's Tlingit Indians. Place signifies not only a specific geographical location but also reveals the ways in which individuals and social groups define themselves. The notion of place consists of three dimensions - space, time, and experience - which are culturally and environmentally structured. Thornton examines each in detail to show how individual and collective Tlingit notions of place, being, and identity are formed. As he observes, despite cultural and environmental changes over time, particularly in the post-contact era since the late eighteenth century, Tlingits continue to bind themselves and their culture to places and landscapes in distinctive ways. He offers insight into how Tlingits in particular, and humans in general, conceptualize their relationship to the lands they inhabit, arguing for a study of place that considers all aspects of human interaction with landscape. In Tlingit, it is difficult even to introduce oneself without referencing places in Lingit Aani (Tlingit Country). Geographic references are embedded in personal names, clan names, house names, and, most obviously, in k-waan names, which define regions of dwelling. To say one is Sheet'ka K-waan defines one as a member of the Tlingit community that inhabits Sheet'ka (Sitka). Being and Place among the Tlingit makes a substantive contribution to the literature on the Tlingit, the Northwest Coast cultural area, Native American and indigenous studies, and to the growing social scientific and humanistic literature on space, place, and landscape.

Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.

A prominent Muslim woman activist describes how she transformed the "women's section" of a local newspaper to reveal the true lives of Pakistani women and became a passionate advocate for women's rights, ultimately winning a seat on the Provincial Assembly.