The Forest Of Symbols

Collection of 10 articles previously published on various aspects of ritual symbolism among the Ndembu of Zambia; p.83-4; brief mention of C.P. Mountford on Aboriginal colour symbolism; Primarly for use in cultural comparison.

A groundbreaking reassessment of Symbolist artists and writers that investigates the concerns they shared with scientists of the period—the problem of subjectivity in particular. In A Forest of Symbols, Andrei Pop presents a groundbreaking reassessment of those writers and artists in the late nineteenth century associated with the Symbolist movement. For Pop, “symbolist” denotes an art that is self-conscious about its modes of making meaning, and he argues that these symbolist practices, which sought to provide more direct access to viewers and readers by constant revision of its material means of meaning-making (brushstrokes on a canvas, words on a page), are crucial to understanding the genesis of modern art. The symbolists saw art not as a social revolution, but as a revolution in sense and how to conceptualize the world. The concerns of symbolist painters and poets were shared to a remarkable degree by theoretical scientists of the period, who were dissatisfied with the strict empiricism dominant in their disciplines, which made shared knowledge seem unattainable. The problem of subjectivity in particular, of what in one's experience can and cannot be shared, was crucial to the possibility of collaboration within science and to the communication of artistic innovation. Pop offers close readings of the literary and visual practices of Manet and Mallarmé, of drawings by Ernst Mach, William James and Wittgenstein, of experiments with color by Bracquemond and Van Gogh, and of the philosophical systems of Frege and Russell—filling in a startling but coherent picture of the symbolist heritage of modernity and its consequences.

Leaves rustle underfoot in a dark wood: two little girls, extracted from their homes in wartime London, encounter something terrifying in a forest. Later when they meet as grown women, they realise the experience has coloured their lives. A dark tale about the nature of stories themselves. Part of the Storycuts series, this short story was originally published in the collection Little Black Book of Stories.

In this book, Victor Turner is concerned with various kinds of social actions and how they relate to, and come to acquire meaning through, metaphors and paradigms in their actors' minds; how in certain circumstances new forms, new metaphors, new paradigms are generated. To describe and clarify these processes, he ranges widely in history and geography: from ancient society through the medieval period to modern revolutions, and over India, Africa, Europe, China, and Meso-America. Two chapters, which illustrate religious paradigms and political action, explore in detail the confrontation between Henry II and Thomas Becket and between Hidalgo, the Mexican liberator, and his former friends. Other essays deal with long-term religious processes, such as the Christian pilgrimage in Europe and the emergence of anti-caste movements in India. Finally, he directs his attention to other social phenomena such as transitional and marginal groups, hippies, and dissident religious sects, showing that in the very process of dying they give rise to new forms of social structure or revitalized versions of the old order.

In The Ritual Process: Structure and Anti-Structure, Victor Turner examines rituals of the Ndembu in Zambia and develops his now-famous concept of "Communitas." He characterizes it as an absolute inter-human relation beyond any form of structure. The Ritual Process has acquired the status of a small classic since these lectures were first published in 1969. Turner demonstrates how the analysis of ritual behavior and symbolism may be used as a key to understanding social structure and processes. He extends Van Gennep's notion of the "liminal phase" of rites of passage to a more general level, and applies it to gain understanding of a wide range of social phenomena. Once thought to be the "vestigial" organs of social conservatism, rituals are now seen as arenas in which social change may emerge and be absorbed into social practice. As Roger Abrahams writes in his foreword to the revised edition: "Turner argued from specific field data. His special eloquence resided in his ability to lay open a sub-Saharan African system of belief and practice in terms that took the reader beyond the exotic features of the group among whom he carried out his fieldwork, translating his experience into the terms of contemporary Western perceptions. Reflecting Turner's range of intellectual interests, the book emerged as exceptional and eccentric in many ways: yet it achieved its place within the intellectual world because it so successfully synthesized continental theory with the practices of ethnographic reports."

Drawing on two and a half years of field work, Victor Turner offers two thorough ethnographic studies of Ndembu revelatory ritual and divinatory techniques, with running commentaries on symbolism by a variety of Ndembu informants. Although previously published, these essays have not been readily available since their appearance more than a dozen years ago. Striking a personal note in a new introductory chapter, Professor Turner acknowledges his indebtedness to Ndembu ritualists for alerting him to the theoretical relevance of symbolic action in understanding human societies. He believes that ritual symbols, like botanists' stains, enable us to detect and trace the movement of social processes and relationships that often lie below the level of direct observation.

An adventurous story of a frontier boy raised by Indians, The Light in the Forest is a beloved American classic. When John Cameron Butler was a child, he was captured in a raid on the Pennsylvania frontier and adopted by the great warrrior Cuyloga. Renamed True Son, he came to think of himself as fully Indian. But eleven years later his tribe, the Lenni Lenape, has signed a treaty with the white men and agreed to return their captives, including fifteen-year-old True Son. Now he must go back to the family he has forgotten, whose language is no longer his, and whose ways of dress and behavior are as strange to him as the ways of the forest are to them.