000 03941nam a22005415i 4500
001 187941
003 IT-RoAPU
005 20221214232342.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 220426t20212013txu fo d z eng d
010 _a2012013280
020 _a9780292743540
_qPDF
024 7 _a10.7560/743533
_2doi
035 _a(DE-B1597)9780292743540
035 _a(DE-B1597)587489
035 _a(OCoLC)1280944065
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aF1565.2.C8
_bF67 2012
072 7 _aART000000
_2bisacsh
082 0 4 _a704.03/9783
_223
084 _aonline - DeGruyter
100 1 _aFortis, Paolo
_eautore
245 1 0 _aKuna Art and Shamanism :
_bAn Ethnographic Approach /
_cPaolo Fortis.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2013
300 _a1 online resource (271 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tCONTENTS --
_tACKNOWLEDGMENTS --
_tNOTE ON ORTHOGRAPHY --
_tIntroduction --
_t1. Island, Gardens, and Ancient Trees --
_t2. Alterity and the Populated Forest --
_t3. Carving and the Transformation of Male Fertility --
_t4. Amniotic Designs --
_t5. From the Perspective of the Mother --
_t6. Tarpa, or What Lies between Us --
_t7. Images of Alterity --
_t8. Sculptural Forms --
_tConclusion --
_tNOTES --
_tGLOSSARY --
_tREFERENCES --
_tINDEX
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aKnown for their beautiful textile art, the Kuna of Panama have been scrutinized by anthropologists for decades. Perhaps surprisingly, this scrutiny has overlooked the magnificent Kuna craft of nuchukana—wooden anthropomorphic carvings—which play vital roles in curing and other Kuna rituals. Drawing on long-term fieldwork, Paolo Fortis at last brings to light this crucial cultural facet, illuminating not only Kuna aesthetics and art production but also their relation to wider social and cosmological concerns. Exploring an art form that informs birth and death, personhood, the dream world, the natural world, religion, gender roles, and ecology, Kuna Art and Shamanism provides a rich understanding of this society’s visual system, and the ways in which these groundbreaking ethnographic findings can enhance Amerindian scholarship overall. Fortis also explores the fact that to ask what it means for the Kuna people to carve the figure of a person is to pose a riddle about the culture’s complete concept of knowing. Also incorporating notions of landscape (islands, gardens, and ancient trees) as well as cycles of life, including the influence of illness, Fortis places the statues at the center of a network of social relationships that entangle people with nonhuman entities. As an activity carried out by skilled elderly men, who possess embodied knowledge of lifelong transformations, the carving process is one that mediates mortal worlds with those of immortal primordial spirits. Kuna Art and Shamanism immerses readers in this sense of unity and opposition between soul and body, internal forms and external appearances, and image and design.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aCuna Indians
_xReligion.
650 0 _aCuna art.
650 0 _aCuna mythology.
650 0 _aShamanism
_zPanama.
650 7 _aART / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/743533
856 4 0 _uhttps://www.degruyter.com/isbn/9780292743540
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292743540/original
942 _cEB
999 _c187941
_d187941