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The Dutch were culturally ubiquitous in England during the early modern period and constituted London's largest alien population in the second half of the sixteenth century. While many sought temporary refuge from Spanish oppression in the Low Countries, others became part of a Dutch diaspora, developing their commercial, spiritual, and domestic lives in England. The category \"Dutch\" catalyzed questions about English self-definition that were engendered less by large-scale cultural distinctions than by uncanny similarities. Doppelgänger Dilemmas uncovers the ways England's real and imagined proximities with the Dutch played a crucial role in the making of English ethnicity.Marjorie Rubright explores the tensions of Anglo-Dutch relations that emerged in the form of puns, double entendres, cognates, homophones, copies, palimpsests, doppelgängers, and other doublings of character and kind. Through readings of London's stage plays and civic pageantry, English and Continental polyglot and bilingual dictionaries and grammars, and travel accounts of Anglo-Dutch rivalries and friendships in the Spice Islands, Rubright reveals how representations of Dutchness played a vital role in shaping Englishness in virtually every aspect of early modern social life. Her innovative book sheds new light on the literary and historical forces of similitude in an era that was so often preoccupied with ethnic and cultural difference.

With its emphasis on early modern emissaries and their role in England's expansionary ventures and cross-cultural encounters across the globe, this collection of essays takes the messenger figure as a focal point for the discussion of transnational exchange and intercourse in the sixteenth and seventeenth centuries. It sees the emissary as embodying the processes of representation and communication within the world of the text, itself an 'emissary' that strives to communicate and re-present certain perceptions of the 'real.' Drawing attention to the limits and licenses of communication, the emissary is a reminder of the alien quality of foreign language and the symbolic power of performative gestures and rituals. Contributions to this collection examine different kinds of cross-cultural activities (e.g. diplomacy, trade, translation, espionage, missionary endeavors) in different world areas (e.g. Asia, the Mediterranean, the Levant, the New World) via different critical methods and approaches. They take up the literary and cultural productions and representations of ambassadors, factors, traders, translators, spies, middlemen, merchants, missionaries, and other agents, who served as complex conduits for the global transport of goods, religious ideologies, and socio-cultural practices throughout the early modern period. Authors in the collection investigate the multiple ways in which the emissary became enmeshed in emerging discourses of racial, religious, gender, and class differences. They consider how the emissary's role might have contributed to an idealized progressive vision of a borderless world or, conversely, permeated and dissolved borders and boundaries between peoples only to further specific group interests.

A bighorn sheep horned headdress discovered near the Green River, in eastern Utah within the United States is reviewed. Its history, discovery and subsequent analysis is described. It appears to have been a powerful headpiece employed in a symbolic context for religious expression, perhaps worn by a ritualist in association with the hunt for large game animals (bighorn sheep, antelope or deer). It was likely associated with the Fremont Cultural Tradition, as it was dated by radiocarbon assay to a calibrated, calendar age of 1020-1160 CE and was further adorned with six Olivella biplicata shell beads (split-punched type) originating from the California coast that apparently date to that same general time frame. Such headdresses are mentioned in the ethnographic literature for several Great Basin and American Southwestern indigenous cultures and appear to have been used in various religious rituals. Bighorn sheep horned headdresses can be fashioned directly from the horns of a bighorn sheep and can be functionally fashioned as a garment to be worn on the head without excessive weight and with little difficulty to the wearer. Ethnographic data testifies that the bighorn sheep was applied as a cultural symbol and was employed as a 'visual prayer' relating to the cosmic regeneration of life (e.g. good health, successful human reproduction, sufficient rain and water, and ample natural resource [i.e. animal and plant] fertility).

TextaQueen's name comes from their choice of medium, which is felt-tipped pen or Texta. This large-scale Texta drawing on paper, 'Sub-Cultural Charms (Self portrait)' 2013, is exemplary of the artist's use of symbolism and decorative detail to tackle political issues such as sexuality, gender and race. The artist's work also has a performative flare, evidenced by their adoption of the superhero persona, TextaQueen, which can be seen in their animated portraits.

A bighorn sheep horned headdress discovered near the Green River, in eastern Utah within the United States is reviewed. Its history, discovery and subsequent analysis is described. It appears to have been a powerful headpiece employed in a symbolic context for religious expression, perhaps worn by a ritualist in association with the hunt for large game animals (bighorn sheep, antelope or deer). It was likely associated with the Fremont Cultural Tradition, as it was dated by radiocarbon assay to a calibrated, calendar age of 1020-1160 CE and was further adorned with six Olivella biplicata shell beads (split-punched type) originating from the California coast that apparently date to that same general time frame. Such headdresses are mentioned in the ethnographic literature for several Great Basin and American Southwestern indigenous cultures and appear to have been used in various religious rituals. Bighorn sheep horned headdresses can be fashioned directly from the horns of a bighorn sheep and can be functionally fashioned as a garment to be worn on the head without excessive weight and with little difficulty to the wearer. Ethnographic data testifies that the bighorn sheep was applied as a cultural symbol and was employed as a 'visual prayer' relating to the cosmic regeneration of life (e.g. good health, successful human reproduction, sufficient rain and water, and ample natural resource [i.e. animal and plant] fertility).

TextaQueen's name comes from their choice of medium, which is felt-tipped pen or Texta. This large-scale Texta drawing on paper, 'Sub-Cultural Charms (Self portrait)' 2013, is exemplary of the artist's use of symbolism and decorative detail to tackle political issues such as sexuality, gender and race. The artist's work also has a performative flare, evidenced by their adoption of the superhero persona, TextaQueen, which can be seen in their animated portraits.

Culture, 1922traces the intellectual and institutional deployment of the culture concept in England and America in the first half of the twentieth century. With primary attention to how models of culture are created, elaborated upon, transformed, resisted, and ignored, Marc Manganaro works across disciplinary lines to embrace literary, literary critical, and anthropological writing. Tracing two traditions of thinking about culture, as elite products and pursuits and as common and shared systems of values, Manganaro argues that these modernist formulations are not mutually exclusive and have indeed intermingled in complex and interesting ways throughout the development of literary studies and anthropology. Beginning with the important Victorian architects of culture--Matthew Arnold and Edward Tylor--the book follows a number of main figures, schools, and movements up to 1950 such as anthropologist Franz Boas, his disciples Edward Sapir, Ruth Benedict, and Zora Neale Hurston, literary modernists T. S. Eliot and James Joyce, functional anthropologist Bronislaw Malinowski, modernist literary critic I. A. Richards, the New Critics, and Kenneth Burke. The main focus here, however, is upon three works published in 1922, the watershed year of Modernism--Eliot'sThe Waste Land, Malinowski'sArgonauts of the Western Pacific, and Joyce'sUlysses. Manganaro reads these masterworks and the history of their reception as efforts toward defining culture. This is a wide-ranging and ambitious study about an ambiguous and complex concept as it moves within and between disciplines.

As home to the oldest living and continuous culture on earth, this continent is the birthplace of the world's first sovereign peoples. Our cultural expressions and artforms stretch back tens of thousands of years and have, since their earliest manifestations, told the stories of Country and of our Ancestors in this place since creation. As First Nations people, our art and cultural practices have historically been rooted in place and used to communicate knowledge of our lands, waters and cultural lore, which frame our relationship to Country. This interconnected relationship between art and Country has long served as an educational tool, a means to communicate our stories, knowledge and responsibility to care for Country. Since colonisation, the practice of culture has also been an apparatus of resistance. In a 'nation' that sought to eradicate its First Peoples, the acts of making art, of practising culture, were inherently political statements that spoke to our sovereignty and right to our lands and culture. Fifty years on from

This book offers captivating insights into the interaction between the Indian and the American cultural worlds. A fascinating work of research, it illustrates an extraordinary capacity to employ the details of literary texts as significant clues in understanding the configuration of transcultural identities. The book constructs an exciting dialogue between complex theoretical notions and the vibrant fictional worlds populated by Indian, American and European characters. Its original and multi-layered approach illustrates how complex theories of culture can help the reader understand contemporary processes of migration, cultural change and gender identity that interfere with daily life.

This volume highlights the diversity and complexity of cultural dialogue between Russia and Western Europe since the end of the eighteenth century. Part one contains contributions which focus on how these cultures have viewed each other. There are chapters on the myth of Dumas père in Russia, the Russian travelogues of Henry Lansdell, Konstantin Leont’ev’s views on Great Britain and France, and the Russian Symbolists’ construction of a mythical European past. Authors in the second part compar.