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Journal articles on the topic 'Santeria in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Otero, Solimar, and David H. Brown. "Santeria Enthroned: Art, Ritual, and Innovation in Afro-Cuban Religion." International Journal of African Historical Studies 37, no. 2 (2004): 385. http://dx.doi.org/10.2307/4129031.

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2

Steele, Cynthia. "The Restorers of Chiloé by Rosabetty Muñoz." Latin American Literary Review 47, no. 93 (May 5, 2020): 71–75. http://dx.doi.org/10.26824/lalr.146.

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This series of poems deals with the restoration of religious statues distributed over the Catholic churches scattered over 21 islands of the remote archipelago of Chiloé, off the coast of southern Chile. A group of art restorers worked for years repairing the damages that had occurred over centuries of exposure to the elements, to the beautiful carved wooden images of Jesus, Mary and various Catholic saints. Since there were not enough priests to serve all the scattered population of Chiloé in Colonial times, the traveling priest appointed a fiscal to represent him in each major town, as a religious and legal authority. This position still exists to this day, although with less power than in Colonial times. The man who was serving as fiscal at the time of the restoration collaborated closely with the art specialists, as did various villagers. Even though none of the members of the restoration team was religious, these poems demonstrate the tenderness and respect they demonstrated, both in their dealings with the religious objects and with the devotees of these objects, the islanders. The saints of Chiloé were also beautifully photographed by Chilean photographer Mariana Mathews in 2008, as can be seen at the digital museum Castillo de Niebla: https://www.museodeniebla.gob.cl/sitio/Contenido/Galerias/36142:Santos-silentes-objetos-de-la-escuela-Santeria-de-Chiloe

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3

Gleason, Judith. "Religion - David H. Brown. Santeria Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. Chicago: University of Chicago Press, 2003. xx + 413 pp. Illustrations. Notes. Bibliography. Index. $38.00. Paper." African Studies Review 49, no. 1 (April 2006): 192–93. http://dx.doi.org/10.1353/arw.2006.0068.

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4

CI, Bondar. "The Inlay of San La Muerte as Configurations of the Passionate State of Faith." Anthropology and Ethnology Open Access Journal 6, no. 1 (2023): 1–8. http://dx.doi.org/10.23880/aeoaj-16000208.

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In this presentation we explore the relationships between human bone and the magical-religious ritual use in Northeastern Argentina and southern Paraguay; we approach this problem from the conceptualization of the santera practice as producer of popular sacred art, attending to (a) the use of bone in the carving of the imagery of San La Muerte and (b) its valuation as powerful talisman beyond having been, or not, sculpted in the form of the Saint. We intend to contribute to the description and understanding of part of the religious imagination of Northeastern Argentina and Southern Paraguay, and its derivations and relations with the production of sacred material culture. For the treatment of this problem, fieldwork has been carried out among the population of Catholic faith, prioritizing the ethnographic method were implemented in-depth interviews with devotees and santeros, observations with varying degrees of participation, records in journals and field notes, as well as documentary analysis and varied images.

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5

Dianteill, Erwan, and Martha Swearingen. "From Hierography to Ethnography and Back: Lydia Cabrera’s Texts and the Written Tradition in Afro-Cuban Religions." Journal of American Folklore 116, no. 461 (July 1, 2003): 273–92. http://dx.doi.org/10.2307/4137792.

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Abstract Two common assumptions about Lydia Cabrera’s ethnographic work are that it is exclusively the result of fieldwork and that Afro-Cuban religions are based on oral tradition. Evidence is provided in this paper to show that 1) Cabrera also made use of early religious texts as a primary source, and 2) that her work has served as an influence on the texts used in modern Afro-Cuban religious practices, such as the anonymous book Manual del Santero (1990). An analysis is provided of the way in which Cabrera included vernacular written sources in her work, and how her work in turn has become a main source for Santería "hierography"-the writting about sacred things.

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6

Miller, Ivor L. "Religious Symbolism in Cuban Political Performance." TDR/The Drama Review 44, no. 2 (June 2000): 30–55. http://dx.doi.org/10.1162/10542040051058690.

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When a white dove alights on his shoulder, is Fidel Castro being crowned by Obatalá, a Santería god? What is the relationship between Santería, Cuba's vibrant Afro-Caribbean religion, and Cuba's head of state?

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7

Palacio, Joseph O. "Sacred Possessions: Vodun, Santeria, Obeah and the Caribbean:Sacred Possessions: Vodun, Santeria, Obeah and the Caribbean." American Anthropologist 100, no. 2 (June 1998): 546–47. http://dx.doi.org/10.1525/aa.1998.100.2.546.

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8

Menoukha Case. "Santeria: A Practical Guide to Afro-Caribbean Magic, and: Santeria Stories (review)." Callaloo 32, no. 1 (2008): 307–13. http://dx.doi.org/10.1353/cal.0.0326.

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9

Kalb, Laurie Beth, Louise Cox, and Ray Telles. "Santeros." Western Folklore 49, no. 3 (July 1990): 327. http://dx.doi.org/10.2307/1499636.

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10

Beliso-De Jesús, Aisha. "Santería Copresence and the Making of African Diaspora Bodies." Cultural Anthropology 29, no. 3 (August 11, 2014): 503–26. http://dx.doi.org/10.14506/ca29.3.04.

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In Santería priesthoods, practitioners are “made” into African diaspora bodies in what is called “making santo.” These embodied epistemologies reveal not only the complex historical practices that have emerged through processes of racialization and enslavement but also how a body logic resituates the formations of diasporic feeling and sensing. I argue that practitioners’ everyday acts redefine the capacities of and for action as part of a spiritual habitus. The various rituals, works, and spiritual acts in Santería thus culminate in a different form of bodily engagement with the world, operating in racial space. This article examines Santería body logics, showing how what I call copresences are activated in somatic racial ontologies. I suggest that these diasporic sensings resituate anthropological universalisms, arguing for a disruption in the debate between mediation and practice in the anthropology of religion. Rather than assuming notions of presence, copresence allows for an intervention that hails Santería’s embodied epistemology as a form of diasporic sensing.

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11

Nosonovsky, Michael. "Translation or Divination? Sacred Languages and Bilingualism in Judaism and Lucumí Traditions." Religions 13, no. 1 (January 7, 2022): 57. http://dx.doi.org/10.3390/rel13010057.

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I compare the status of a sacred language in two very different religious traditions. In Judaism, the Hebrew language is the language of liturgy, prayer, and the Written Law. The traditional way of reading Torah passages involved translating them into Aramaic, the everyday language of communication in the Middle East in the first half of the first millennium CE. Later, other Jewish languages, such as Yiddish, played a role similar to that of Aramaic in the Talmudic period, constituting a system referred to as the “Traditional Jewish Bilingualism”. Hebrew lexemes had denotations related to the realm of Biblical texts, while Aramaic/Yiddish lexemes had everyday references. Therefore, the act of translation connected the two realms or domains. The Lucumí (Santería) Afro-Cuban religion is a syncretic tradition combining Roman Catholicism with the Ifá tradition, which does not have a corpus of written sacred texts, however, it has its sacred language, the Lucumí (Anagó) language related to the Yoruba language of West Africa. While the Spanish-Lucumí bilingualism plays an important role in Santería rituals, the mechanisms of reference are very different from those of the Hebrew-Yiddish bilingualism in Judaism. In Santería, divinations about the meaning of Lucumí words play a role similar to the translations from Hebrew in Judaism. I further discuss the role of ritual dances in Santería for the transition from the sacred to the secular domain and a function of Hebrew epitaphs to connect the ideal world of Hebrew sacred texts to the everyday life of a Jewish community.

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12

Glaumaud-Carbonnier, Marion. "Santerre contre Santerre. Écritures d’un procès conjugal (1879-1880)." Romantisme 199, no. 1 (March 2, 2023): 37–48. http://dx.doi.org/10.3917/rom.199.0037.

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13

Rudakoff, Judith. "Cuba “AsiSomos” and the Fine Art of Survival." Canadian Theatre Review 78 (March 1994): 59–60. http://dx.doi.org/10.3138/ctr.78.010.

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From September 12-19, 1993, I co-ordinated a Theatre and Fine Arts Delegation which travelled in Cuba. The primary goal of this delegation was to begin to explore the Fine Arts in several regions of the country with particular emphasis on learning how the social, economic, political and religious conditions affect the contemporary creative work in terms of themes, imagery, form and structure and even, at times, venue. This was my second of five trips planned this year, facilitated by the Cuban Ministry of Culture and their Canadian representatives, Canada-Cuba Sports and Culture Festivals. The first trip, last spring, was a whirlwind immersion as we travelled to eight cities in seven days. The September journey was less frenzied and involved less travel within the country: we spent time in Cienfuegos, Trinidad de Cuba and Havana. As well, our interests on this delegation were focused primarily on Theatre (and attendance of the International Festival of Latin-American Theatre in Havana) and, more marginally, on Santería (the widely practised, syncretized Afro-Cuban religion that combines Yoruban spiritual belief and ritual with Catholicism) and its continued influence on the Fine Arts in Cuba.

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Brown, David H. "Santeríía Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion." Nova Religio 9, no. 1 (August 1, 2005): 112–14. http://dx.doi.org/10.1525/nr.2005.9.1.112.

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15

Sansi, Roger. "Santería enthroned: art, ritual, and innovation in an Afro-Cuban religion – By David H. Brown." Journal of the Royal Anthropological Institute 13, no. 4 (December 2007): 1047–48. http://dx.doi.org/10.1111/j.1467-9655.2007.00472_23.x.

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16

Bongmba, Elias. "Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion – By David H. Brown." Religious Studies Review 34, no. 1 (March 2008): 49. http://dx.doi.org/10.1111/j.1748-0922.2008.00250_2.x.

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17

Brown, David H., Ysamur Flores-Peña, Roberta J. Evanchuck, and Ysamur Flores-Pena. "Santería Garments and Altars: Speaking without a Voice." African Arts 28, no. 2 (1995): 20. http://dx.doi.org/10.2307/3337222.

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18

Wexler, Anna. "David Brown's Review of "Santería Garments and Altars"." African Arts 28, no. 4 (1995): 105. http://dx.doi.org/10.2307/3337305.

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19

Carrasquillo, Rosa E. "Santeria: The Beliefs and Rituals of a Growing Religion in America." Journal of Popular Culture 38, no. 5 (August 2005): 960–61. http://dx.doi.org/10.1111/j.0022-3840.2005.00152.x.

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20

Palmié, Stephan. "Santería grand slam: Afro-Cuban religious studies and the study of Afro-Cuban religion." New West Indian Guide / Nieuwe West-Indische Gids 79, no. 3-4 (January 1, 2005): 281–300. http://dx.doi.org/10.1163/22134360-90002510.

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[First paragraph]Living Santería: Rituals and Experiences in an Afro-Cuban Religion. MICHAEL ATWOOD MASON. Washington DC: Smithsonian Institution Press, 2002. ix + 165 pp. (Paper US$ 16.95)Divine Utterances: The Performance of Afro-Cuban Santería. KATHERINE J. HAGEDORN. Washington DC: Smithsonian Institution Press, 2001. xvi + 296 pp. (Cloth US$ 40.00)The Light Inside: Abakuá Society Arts and Cuban Cultural History. DAVID H. BROWN. Washington DC: Smithsonian Institution Press, 2003. xix + 286 pp. (Cloth US$ 44.23)Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. DAVID H. BROWN. Chicago: The University of Chicago Press, 2003. xx + 413 pp. (Paper US$ 38.00)Ethnographic objects behave in curious ways. Although they clearly are “our constructions,” field sites and even topically circumscribed (rather than spatially delimited) ethnographic problems lead double lives: places and problems change not merely because they factually undergo historical changes, but because researchers come to them from historically no less changeable epistemic vantage points. One can imagine generational cohorts of ethnographers marching across the same geographically or thematically defined terrain and seeing different things – not just because of substantial changes that have factually occurred, but because they have come to ask different questions. The process obviously has its dialectical moments. The figures we inscribe in writing from fleeting observations (based on changing theoretical conceptions) are no less subject to history than the empirical grounds from which our discursive efforts call them forth. The result is a curious imbrication of partially autonomous, but also partly overlapping, historicities of lives and texts which, at times, are more difficult to keep apart than it would seem at first glance. At least in the study of Afro-Cuban religious culture, the two practical and discursive fields – one circumscribed by the practical, but perhaps misleading label “Afro-Cuban religion,”1 and the other designated by whatever term one might like to affix to the study of it – cannot be easily separated: much as in the Brazilian case (Braga 1995, Capone 1999, Matory 1999, 2001), practitioners of Afro-Cuban religions and their ethnographers have engaged each other in a dialogue since at least the second decade of the twentieth century. That it took us so long to understand this fact has much to do with the way both “Afro-Cuban religion” and “Afro-Cuban ethnography” originally (and lastingly) became discursively objectified: the former largely under the sign of a search for “authentically African” elements in New World cultural practices, the second as an instrument for “verifying” (and thereby authorizing) such “Africanisms” (Scott 1991).

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21

Palmié, Stephan. "Santería grand slam: Afro-Cuban religious studies and the study of Afro-Cuban religion." New West Indian Guide / Nieuwe West-Indische Gids 79, no. 3-4 (January 1, 2008): 281–300. http://dx.doi.org/10.1163/13822373-90002510.

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[First paragraph]Living Santería: Rituals and Experiences in an Afro-Cuban Religion. MICHAEL ATWOOD MASON. Washington DC: Smithsonian Institution Press, 2002. ix + 165 pp. (Paper US$ 16.95)Divine Utterances: The Performance of Afro-Cuban Santería. KATHERINE J. HAGEDORN. Washington DC: Smithsonian Institution Press, 2001. xvi + 296 pp. (Cloth US$ 40.00)The Light Inside: Abakuá Society Arts and Cuban Cultural History. DAVID H. BROWN. Washington DC: Smithsonian Institution Press, 2003. xix + 286 pp. (Cloth US$ 44.23)Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. DAVID H. BROWN. Chicago: The University of Chicago Press, 2003. xx + 413 pp. (Paper US$ 38.00)Ethnographic objects behave in curious ways. Although they clearly are “our constructions,” field sites and even topically circumscribed (rather than spatially delimited) ethnographic problems lead double lives: places and problems change not merely because they factually undergo historical changes, but because researchers come to them from historically no less changeable epistemic vantage points. One can imagine generational cohorts of ethnographers marching across the same geographically or thematically defined terrain and seeing different things – not just because of substantial changes that have factually occurred, but because they have come to ask different questions. The process obviously has its dialectical moments. The figures we inscribe in writing from fleeting observations (based on changing theoretical conceptions) are no less subject to history than the empirical grounds from which our discursive efforts call them forth. The result is a curious imbrication of partially autonomous, but also partly overlapping, historicities of lives and texts which, at times, are more difficult to keep apart than it would seem at first glance. At least in the study of Afro-Cuban religious culture, the two practical and discursive fields – one circumscribed by the practical, but perhaps misleading label “Afro-Cuban religion,”1 and the other designated by whatever term one might like to affix to the study of it – cannot be easily separated: much as in the Brazilian case (Braga 1995, Capone 1999, Matory 1999, 2001), practitioners of Afro-Cuban religions and their ethnographers have engaged each other in a dialogue since at least the second decade of the twentieth century. That it took us so long to understand this fact has much to do with the way both “Afro-Cuban religion” and “Afro-Cuban ethnography” originally (and lastingly) became discursively objectified: the former largely under the sign of a search for “authentically African” elements in New World cultural practices, the second as an instrument for “verifying” (and thereby authorizing) such “Africanisms” (Scott 1991).

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22

Fontes de Sá, Marco Antonio. "AS ESCULTURAS DE SANTOS COMO EXPRESSÃO DA ARTE E DA RELIGIÃO MATERIAL BRASILEIRAS." Herança 5, no. 2 (December 18, 2022): 179–98. http://dx.doi.org/10.52152/heranca.v5i2.489.

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Este artigo trata da arte de esculpir santos de madeira e de barro no catolicismo brasileiro como forma de materializar a experiência religiosa de artesãos e devotos. Partindo de um breve resumo sobre a história da devoção às imagens na formação do catolicismo devocional no Brasil colonial, apresenta um recorte do cenário da arte santeira atual, produzida em vários estados brasileiros, mostrando como ela, eventualmente, se desvinculou da arte sacra e passou a produzir imagens com características pessoais concebidas por cada artesão, que as distinguem e transformam em objeto de arte e de consumo, desejadas por colecionadores, nem sempre devotos.

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23

Olmos, Lioba Rossbach de. "Manejando incompatibilidades." Anthropos 114, no. 1 (2019): 33–36. http://dx.doi.org/10.5771/0257-9774-2019-1-33.

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The ocha and ifá tradition (traditionally known as “santería”) are said to maintain a close relationship with nature. However, both traditions are characterized by a worldview that does not separate nature from non-nature (culture). Starting from the “letter of the year” of ifá and the psychology of the “children of the Oricha” (omo oricha) this paper illustrates the ocha-ifá worldview, which differs from the nature-culture dichotomy prevalent in the dominant thinking of the environment. The article seeks to understand how climate change - a very expression of the nature and culture distinction - was incorporated into ifá and its annual prophecies.

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24

LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (April 17, 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.

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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.

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25

Saldivar, Juan M. "ETNOGRAFÍA TRANSNACIONAL DE LA SANTERÍA CUBANA EN SANTIAGO, CHILE (1990-2012)." Universum (Talca) 33, no. 2 (December 2018): 171–92. http://dx.doi.org/10.4067/s0718-23762018000200171.

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26

Johnson, Paul Christopher. "Ritual, Discourse, and Community in Cuban Santería: Speaking a Sacred World. Kristina Wirtz." Journal of Anthropological Research 64, no. 4 (December 2008): 592–94. http://dx.doi.org/10.1086/jar.64.4.20371309.

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27

Ogunnaike, Ayodeji. "Damned If You Do, Damned If You Don't: The Paradox of Africana Religions' Legal Status." Journal of Africana Religions 10, no. 1 (January 1, 2022): 100–128. http://dx.doi.org/10.5325/jafrireli.10.1.0100.

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Abstract The Jamaican government reconsidering the Obeah Act in the summer of 2019 highlighted the legacy of prejudice and criminalization of Africana religious systems and practices left by colonization across ethno-linguistic borders and the broader Black Atlantic. It also highlighted how some traditions such as Béninois Vodun, Candomblé, Santería, and oriṣa worship in parts of Nigeria have successfully managed to combat state policing and prejudice to gain official recognition and legal protection. However, this article analyzes the way even the legal and conceptual success of Africana religions in the modern world places them in a Catch-22. Drawing attention to the fundamental differences between modern conceptions and assumptions of what constitutes “religion,” the article traces the history of how modern political and legal structures either exclude and oppress Africana traditions or exert subtle pressure on them to conform to conceptions of “religion” that are more intelligible and acceptable to their largely Western-based frameworks.

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28

Algranti, Joaquín. "Consumos Rituales: usos y alcances de las mercancías religiosas en el santuario de San Expedito." Andamios, Revista de Investigación Social 13, no. 32 (September 1, 2016): 331. http://dx.doi.org/10.29092/uacm.v13i32.536.

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El objetivo del presente artículo consiste en explorar los consumos rituales que despliegan los peregrinos en torno a la imagen de San Expedito en la parroquia Nuestra Señora de Balvanera, Buenos Aires, Argentina. El artículo se encuentra dividido en tres partes. En la primera nos proponemos reconstruir brevemente la figura del homo oeconomicus y la influencia en los estudios sobre consumo religioso. En el segundo apartado vamos a explorar los usos rituales de los objetos de santería. Por último, será analizado el modo en que las mercancías religiosas expresan espiritualidades en pugna entre los especialistas y peregrinos. La investigación cuenta con un corpus de entrevistas a profundidad, observaciones participantes en la parroquia y, en menor medida, el análisis de documentos.

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29

Alison Newby, C., Donna M. Riley, and Tomás O. Leal-Almeraz. "Mercury Use and Exposure among Santeria Practitioners: Religious versus Folk Practice in Northern New Jersey, USA." Ethnicity & Health 11, no. 3 (August 2006): 287–306. http://dx.doi.org/10.1080/13557850600565616.

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30

RASMUSSEN, SUSAN. "Worldview, the Orichas, and Santerýa: Africa to Cuba and Beyond by Mercedes Cros Sandoval." American Anthropologist 110, no. 1 (April 29, 2008): 98. http://dx.doi.org/10.1111/j.1548-1433.2008.00018_19.x.

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Mason, Michael Atwood. ""I Bow My Head to the Ground": The Creation of Bodily Experience in a Cuban American Santeria Initiation." Journal of American Folklore 107, no. 423 (1994): 23. http://dx.doi.org/10.2307/541071.

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32

Carter, Albert Howard. "Santería Healing: A Journey into the Afro-Cuban World of Divinities, Spirits, and Sorcery." Journal of American Folklore 120, no. 476 (April 1, 2007): 249–50. http://dx.doi.org/10.2307/4137694.

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33

Matory, J. Lorand. "Revisiting the African Diaspora: Working the Spirit: Ceremonies of the African Diaspora . Joseph M. Murphy. ; Santeria from Africa to the New World: The Dead Sell Memories . George Brandon. ; Santeria Garments and Altars: Speaking without a Voice . Ysamur Flores-Pena, Roberta J. Evanchuk." American Anthropologist 98, no. 1 (March 1996): 167–70. http://dx.doi.org/10.1525/aa.1996.98.1.02a00210.

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34

Pichler, Adelheid. "Rauhut, Claudia: Santería und ihre Globalisierung in Kuba. Tradition und Innovation in einer afrokubanischen Religion." Anthropos 110, no. 1 (2015): 263–65. http://dx.doi.org/10.5771/0257-9774-2015-1-263.

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35

Cipolletti, María Susana. "Juncker, Kristine: Afro-Cuban Religious Arts. Popular Expressions of Cultural Inheritance in Espiritismo and Santería." Anthropos 110, no. 2 (2015): 633–34. http://dx.doi.org/10.5771/0257-9774-2015-2-633.

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36

Mason, Michael Atwood. ""The Blood That Runs Through the Veins": The Creation of Identity and a Client's Experience of Cuban-American "Santeria Dilogun" Divination." TDR (1988-) 37, no. 2 (1993): 119. http://dx.doi.org/10.2307/1146253.

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37

Carter, Albert Howard. "Santería Healing: A Journey into the Afro-Cuban World of Divinities, Spirits, and Sorcery (review)." Journal of American Folklore 120, no. 476 (2007): 249–50. http://dx.doi.org/10.1353/jaf.2007.0033.

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38

Gonzalez, Michelle A. "David H. Brown, Santería Enthroned: Art, Ritual, and Innovation in an Afro‐Cuban Religion. Chicago: University of Chicago Press, 2003. xx+413 pp. $38.00 (paper)." Journal of Religion 85, no. 1 (January 2005): 177–78. http://dx.doi.org/10.1086/428556.

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Olmos, Lioba Rossbach de. "Clark, Mary Ann: Where Men Are Wives and Mothers Rule. Santería Ritual Practices and Their Gender Implications." Anthropos 101, no. 2 (2006): 591–93. http://dx.doi.org/10.5771/0257-9774-2006-2-591.

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Olmos, Lioba Rossbach de. "Carr, C. Lynn: A Year in White - Cultural Newcomers to Lukumi and Santería in the United States." Anthropos 112, no. 1 (2017): 303–5. http://dx.doi.org/10.5771/0257-9774-2017-1-303.

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Olmos, Lioba Rossbach de. "Santería Abroad. A Short History of an Afro-Cuban Religion in Germany by Means of Biographies of Some of Its Priests." Anthropos 104, no. 2 (2009): 483–98. http://dx.doi.org/10.5771/0257-9774-2009-2-483.

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Pérez, Elizabeth. "Santería Enthroned: Art, Ritual, and Innovation in an Afro‐Cuban Religion. By David H. Brown. Chicago: University of Chicago Press, 2003. Pp. xx+ 440, 16 color plates, 114 halftones. $38.00." History of Religions 45, no. 2 (November 2005): 185–88. http://dx.doi.org/10.1086/502701.

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Leiter, Samuel L. "“What Really Happens Backstage”: A Nineteenth-Century Kabuki Document." Theatre Survey 38, no. 2 (November 1997): 109–28. http://dx.doi.org/10.1017/s004055740000209x.

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In 1967 the National Theatre of Japan (Kokuritsu Gekijô) published a facsimile version of Okyôgen Gakuya no Honsetsu (What Really Happens Backstage), a two-volume, four-part work, originally published in the midnineteenth century in Edo (Tokyo), and written by Santei Shunba, with the first volume (1858) illustrated by Baichôrô Kunisada and Ichieisai Yoshitsuya, and the second (1859) by Ichiransai Kunitsuna. The book offers numerous illustrations of kabuki stage effects, with brief explanations of their purposes. Despite its great value as a historical resource, this work had been barely known to the Japanese academic community, apart from the fact that one of its pictures appeared in Ihara Toshirô's 1913 Kinsei Nihon Engeki Shi (History of Japanese Theatre from the Edo Period) and was reproduced frequently thereafter. The chief source of information concerning its contents was an entry in the six-volume Engeki Hyakka Daijiten (Encyclopedia of the Theatre), published by Waseda University in 1962. This entry contained several inaccuracies, including errors in the number of the book's volumes and its publication date.

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HOLBRAAD, MARTIN. "David Brown, Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion (Chicago, IL: The University of Chicago Press, 2003), pp. xx+413, $38.00, pb. Johan Wedel, Santería Healing: a Journey into the Afro-Cuban World of Divinities, Spirits and Sorcery (Gainesville, FL: University Press of Florida, 2004), pp. xiv+209, $55.00, hb." Journal of Latin American Studies 37, no. 2 (May 2005): 402–4. http://dx.doi.org/10.1017/s0022216x05349352.

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Marcuzzi, Michael. "Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. By David H. Brown. (Chicago, University of Chicago Press, 2003. Pp. 413, illustrations, photos, plates, notes, appendices, bibliography, index, ISBN 0226076105)." Ethnologies 31, no. 1 (2009): 281. http://dx.doi.org/10.7202/038516ar.

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Costa, Pablo Assumpçáo B. "Queering Black Atlantic Religions: Transcorporeality in Candomblé, Santería, and Vodou. By Roberto Strongman. Durham, NC: Duke University Press, 2019; 296 pp.; illustrations. $99.95 cloth, $26.95 paper, e-book available." TDR/The Drama Review 64, no. 3 (September 2020): 176–79. http://dx.doi.org/10.1162/dram_r_00955.

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 65, no. 1-2 (January 1, 1991): 67–105. http://dx.doi.org/10.1163/13822373-90002017.

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-A. James Arnold, Michael Gilkes, The literate imagination: essays on the novels of Wilson Harris. London: Macmillan, 1989. xvi + 180 pp.-Jean Besson, John O. Stewart, Drinkers, drummers, and decent folk: ethnographic narratives of village Trinidad. Albany, New York: State University of New York Press, 1989. xviii + 230 pp.-Hymie Rubinstein, Neil Price, Behind the planter's back. London: MacMillan, 1988. xiv + 274 pp.-Robert Dirks, Joseph M. Murphy, Santería: an African religion in America. Boston: Beacon Press, 1988. xi + 189 pp.-A.J.R. Russell-Wood, Joseph C. Miller, Way of Death: merchant capitalism and the Angolan slave trade, 1720-1830. Madison, Wisconsin: The University of Wisconsin Press, 1988. xxx + 770 pp.-Anne Pérotin-Dumon, Lawrence C. Jennings, French reaction to British slave Emancipation. Baton Rouge: Louisiana State University Press, 1988. ix + 228 pp.-Mary Butler, Hilary McD. Beckles, White servitude and black slavery in Barbados, 1627-1715. Knoxville: University of Tennesse Press, 1989. xv + 218 pp.-Franklin W, Knight, Douglas Hall, In miserable slavery: Thomas Thistlewod in Jamaica, 1750-1786. London: MacMillan, 1989. xxi + 322 pp.-Ruby Hope King, Harry Goulbourne, Teachers, education and politics in Jamaica 1892-1972. London: Macmillan, 1988. x + 198 pp.-Mary Turner, Francis J. Osbourne S.J., History of the Catholic Church in Jamaica. Chicago: Loyola University Press, 1988. xi + 532 pp.-Christina A. Siracusa, Robert J. Alexander, Biographical dictionary of Latin American and Caribbean political leaders. New York, Westport, London: Greenwood Press, 1988. x + 509 pp.-Sue N. Greene, Brenda F. Berrian ,Bibliography of women writers from the Caribbean (1831-1986). Washington D.C.: Three Continents Press, 1989. 360 pp., Aart Broek (eds)-Romain Paquette, Singaravélou, Pauvreté et développement dans les pays tropicaux, hommage a Guy Lasserre. Bordeaux: Centre d'Etudes de Géographie Tropicale-C.N.R.S./CRET-Institut de Gépgraphie, Université de Bordeaux III, 1989. 585 PP.-Robin Cohen, Simon Jones, Black culture, white youth: the reggae traditions from JA to UK. London: Macmillan, 1988. xxviii + 251 pp.-Bian D. Jacobs, Malcom Cross ,Lost Illusions: Caribbean minorities in Britain and the Netherlands. London: Routledge, 1988. 316 pp., Han Entzinger (eds)

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Hix, Simon, and Christopher Lord. "The Making of a President: The European Parliament and the Confirmation of Jacques Santer as President of the Commission." Government and Opposition 31, no. 1 (January 1996): 62–76. http://dx.doi.org/10.1111/j.1477-7053.1996.tb00149.x.

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THE SINGLE EUROPEAN ACT AND THE MAASTRICHT TREATY attempted to balance two principles of representation in their redesign of the institutional structures of the European Union: the one, based on the indirect representation of publics through nationally elected governments in the European Council and Council of Ministers; the other, based on the direct representation of publics through a more powerful European Parliament. There is much to be said for this balance, for neither of the two principles can, on its own, be an adequate solution at this stage in the development of the EU. The Council suffers from a non-transparent style of decision-making and is, in the view of many, closer to oligarchic than to democratic politics. On the other hand, the claims of the European Parliament to represent public sentiments on European integration are limited by low voter participation, the second-order nature of European elections and the still Protean nature of what we might call a transnational European demos. The EU lacks a single public arena of political debate, communications and shared meanings; of partisan aggregation and political entrepreneurship; and of high and even acceptance, across issues and member states, that it is European and not national majority views which should count in collective rule-making.

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Cosentino, Domenico, Paola Cipollari, Letizia Di Bella, Alessandra Esposito, Costanza Faranda, Guido Giordano, Elsa Gliozzi, et al. "Tectonics, sea-level changes and palaeoenvironments in the early Pleistocene of Rome (Italy)." Quaternary Research 72, no. 1 (July 2009): 143–55. http://dx.doi.org/10.1016/j.yqres.2009.03.003.

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AbstractThe historical site of the Monte Mario lower Pleistocene succession (Rome, Italy) is an important marker of the Pliocene/Pleistocene boundary. Recently, the Monte Mario site was excavated and restudied. A spectacular angular unconformity characterizes the contact between the Monte Vaticano and the Monte Mario formations, which marks the Pliocene/Pleistocene boundary. Biostratigraphical analyses carried out on ostracod, foraminifer, and calcareous nannofossil assemblages indicate an Early Pliocene age (topmost Zanclean, 3.81–3.70 Ma) for the underlying Monte Vaticano Formation, whereas the Monte Mario Formation has been dated as early Pleistocene (Santernian, 1.66–1.59 Ma). Palaeomagnetic analyses point to C2Ar and C1r2r polarity chrons for the Monte Vaticano and the Monte Mario formations, respectively. The Monte Mario Formation consists of two obliquity-forced depositional sequences (MM1 and MM2) characterized by transgressive systems tracts of littoral marine environments at depths, respectively, of 40–80 m and 15–20 m. The data obtained from foraminifer and ostracod assemblages allow us to reconstruct early Pleistocene relative sea-level changes near Rome. At the Plio/Pleistocene transition, a relative sea-level drop of at least 260 m occurred, as a result of both tectonic uplift of the central Tyrrhenian margin and glacio-eustatic changes linked to early Pleistocene glaciation (Marine Isotope Stage 58).

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Meyer, Anthony J. "Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería by Kristine Juncker Gainesville: University Press of Florida, 2014. 208 pp., 28 color ill., 20 b/w. $74.95, cloth." African Arts 50, no. 1 (March 2017): 93–94. http://dx.doi.org/10.1162/afar_r_00338.

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