The aim of the present paper is to show the results of one chapter of my Doctorate thesis about Thasian black-figure pottery as archaeologically contextualized documents, being part of the votive objects offered at female sanctuaries, especially the Artemision of Thassos. This paper is centered on Thassos, an island situated in the Northern Aegean, settled by Greeks from Paros. We focus on the Archaic Period, more specifically on the sixth century BC, the peak of local production. Departing from the archaeological (...) contexts through excavation reports, we analyze significant social and religious connections among votive materials associated with the Thasian black-figure pottery. These connections brought us elements that allowed us to interpret the multiculturalism imbricated within the objects, the mimicry and the innovations in the decoration of this black-figure pottery, as well as the particular demand in quantitative terms of a type of vessel called lekane, an object that was loaded with information and religious and apotropaic meaning. In addition, those same elements also showed us traits that reveal votive practices, judging by the way the pottery was exhibited, and its decorative features, which to date are only attested in Thassos. The research revealed intrinsic relationships linked to the diverse facets of Artemis, from a goddess protecting the rites of passage to the protection of women in childbirth, as seen in the black-figure pottery, amulets and other apotropaic objects. Moreover, it demonstrated that the multiple facets of Artemis, as protector of women, act in many spheres, such the civic-religious space in connection with the oíkos and social order, the possibility of a good childbirth and the social position of women in Thassos from the Archaic period. (shrink)

The term “mental illness” implies that persons with such illnesses are more likely to be dangerous to themselves and/or others than are persons without such illnesses. This is the source of the psychiatrist’s traditional social obligation to control “harm to self and/or others,” that is, suicide and crime. The ethical dilemmas of psychiatry cannot be resolved as long as the contradictory functions of healing persons and protecting society are united in a single discipline.Life is full of dangers. Our highly developed (...) consciousness makes us, of all living forms in the universe, the most keenly aware of, and the most adept at protecting ourselves from, dangers. Magic and religion are mankind’s earliest warning systems. Science arrived on the scene only about 400 years ago, and scientific medicine only 200 years ago. Some time ago I suggested that “formerly, when religion was strong and science weak, men mistook magic for medicine; now, when science is strong and religion weak, men mistake medicine for magic”.1We flatter and deceive ourselves if we believe that we have outgrown the apotropaic use of language .Many people derive comfort from magical objects , and virtually everyone finds reassurance in magical words . The classic example of an apotropaic is the word “abracadabra,” which The American Heritage Dictionary of the English Language defines as “a magical charm or incantation having the power to ward off disease or disaster”. In the ancient world, abracadabra was a magic word, the letters of which were arranged in an inverted pyramid and worn as an amulet around the neck to protect the wearer against disease or trouble. One fewer letter appeared in each line of the pyramid, until only the letter “a” remained to form the vertex of the triangle. As …. (shrink)

I appreciate Professor Boyd’s offer to respond to the respondents of my essay, as it gives me an opportunity to thank them for their carefully considered comments.1–3In The Subjection of Women, John Stuart Mill sought to clarify the traditional subjection of women to men by comparing the institution of marriage with the ….

The corn wolf : writing apotropaic texts -- Animism and the philosophy of everyday life -- The stories things tell and why they tell them -- Humming -- Excelente zona social -- I'm so angry I made a sign -- Weeks in Palestine : my first visit -- A go slow manifesto -- Iconoclasm dictionary -- The obscene in everyday life -- Syllable and sound -- Don Miguel.

O problema de como se proteger do mal é um tema recorrente em diversos períodos históricos e sociedades. Textos apotropaicos judaicos, particularmente no período do Segundo Templo, trazem uma variedade de linguagens associadas com proteção. Esse artigo mapeia as diferentes linguagens apotropaicas descritas nos Manuscritos do Mar Morto, com enfoque para o uso da escrita como forma de registrar e preservar orações.

Dentro del rico y multiforme panorama de imágenes forjadas en el mundo romano, por su indudable originalidad destacan las iconografías inspiradas en la tierra de los faraones. Concretamente, suscitan interés las representaciones nilóticas animadas por pigmeos provistos de barritas. En el presente trabajo, el objetivo consiste en el identificar, basándose en el estudio de las fuentes clásicas y en las comparaciones iconográficas de las obras examinadas, un fil rouge semántico de estos específicos modelos nilóticos existentes en la cuenca mediterránea entre (...) los siglos I-III d.C. Finalmente, se obtienen ciertas conclusiones acerca de la funcionalidad tanto como del significado de las enigmáticas barritas preservadas hasta nuestros días a través del espejo artístico romano. (shrink)

Various elements suggest that not only Medusa’s beheading, but also her metamorphosis is present on the parade shield that Caravaggio painted in 1597-1598 and that his patron, Cardinal del Monte, offered to the Grand Duke of Tuscany, Ferdinando de’ Medici. Scholars have recently insisted that the famous rotella shares many features with an engraving by Cornelis Cort, now attributed to Antonio Salamanca, a possible copy of a lost work by Leonardo. Interestingly, this engraving comes with a description of Medusa’s metamorphosis, (...) taken from a passage of Boccaccio’s Genealogy of the Pagan Gods where the Ovidian myth is associated with the legend of the beautiful queen Medusa. Indeed, the Cort-Salamanca’s print shows the metamorphosis in progress: a terrified woman transforming into a monstrous hybrid of humanity and bestiality. While emphasizing the Gorgone’s double nature, Caravaggio pushes her representation in an even more naturalistic direction. Such a naturalization of Medusa, who seems to have lost even her petrifying power, fits with the apotropaic function of the shield as it is exposed in contemporary descriptions of the Grand Duke’s rotella and symbolical interpretations of the gorgoneion. (shrink)

This paper focuses on the ritual context of the 200,000-line Chinese Great Perfection of Wisdom at Dunhuang. Beside the fact that the purpose of the mass production of sūtras was to generate merit and then present a “merit gift” for the sponsor, the copies were reused as ritual instruments in the large-scale chanting liturgy called “sūtra-rotation”. This paper examines the relevant administrative documents and liturgical texts to reconstruct the three modules of the liturgy, i.e., the preparation stage, the pronouncement of (...) a “liturgical script,” and the “long-playing” chanting. By analyzing key passages in the Prajñāpāramitā literature, the paper argues that the Great Perfection of Wisdom was taken as an apotropaic device with unmediated protective power. (shrink)

Taking its lead from analyses of gift exchange by Marcel Mauss and Marshall Sahlins as well as of contact by Charles Long and Jonathan Z Smith, this article elaborates a theory of the exchange, among dominant social subjects, of representations of their subjected proximate others in order to rectify the crisis precipitated by contact with otherness that threatens their claims to autonomy, authority, homogeneity, and universality. Specifically it situates the polemical exchange of representations of women among Friedrich Schlegel, G W (...) F Hegel, and Karl Gutzkow as exemplary German male bourgeois efforts to rectify the crises to subject formation generated, in part, by the emergence of gender-coded bifurcated bourgeois society and signaled by the Kantian and French Revolutions. The public dissemination of apotropaic representations screened the dependence upon proximate others by, and determined the positions among, exchange participants as well as maintained structures of domination. (shrink)

The article presents hypotheses about the origins of the tradition of Konik Zwierzyniecki’s march, also known as the Lajkonik, formulated over the course of about 200 years, as well as possible cultural connections of the Krakow custom with traditions and rituals developed by other communities. Due to the so far unexplained origin of the Lajkonik character and numerous scientifically acceptable historical and cultural interpretations of the horse costume used in the procession, the article also attempts to perform a comparative analysis (...) of similar folklore phenomena on the basis of examining symbolic connotations. The introduction presents the multifaceted symbolism of the horse in European culture and the use of its character in various folk rituals, mostly of a religious or apotropaic character. The main part of the text presents the history of the evolution of scientific views on Lajkonik and distinguishes the most important, possible interpretations of the Konik Zwierzyniecki puzzle. The aim of the article is to systematize and collect the hypotheses outlined so far, but dispersed in numerous publications, regarding the origin, cultural and historical significance of the Lajkonik march. The direct subject of the analysis are the monographic studies, diaries, memoirs, protocols and scientific articles presented in the footnotes and bibliography, analyzed by using the comparative and analytical-synthetic method. Although the article does not provide an explanation of the Lajkonik phenomenon, it is a scientifically significant collection of historical, cultural, linguistic and ethnological information on the Krakow custom and similar European traditions. Due to the multifaceted approach to the subject and the presentation of seemingly unrelated scientific findings from separate fields, this text may also be used for further research aimed at unraveling and determining the genesis of the Krakow tradition of Konik Zwierzyniecki. (shrink)

Catherine Hoffmann's Free Lunch with the Stench Wench is a performance of abjection and self-abjection through poverty with an apotropaic aspiration: to shed the shame through sharing, and to create opportunities for a common social subjectivity that refuses to be silent about the struggle of its own creation and maintenance. Despite its title, Free Lunch does not come with a free lunch for the audience but creates an olfactory situation, through the onstage cooking of hot chocolate and the presence (...) of a dead rat, which complements Hoffmann's narration and stage presence into a synaesthetic portrait of poverty and its psychosocial fallout. Drawing on the psychological foundations of shame studies, sociological approaches and social-theoretical responses to austerity and social division, I propose to examine the gendered embodiment of shame and its exorcism in Hoffmann's performance, focusing on its physical codification in and beyond the visual. I explore the potential of shame to be re-weaponized against those who originally inflict it, and consider the shame that haunts every creative act, especially those with high political stakes: the failure to make a connection, the fear of being misunderstood. (shrink)

Reflection on “the contemporary crisis” must take into account that, beyond financial problems in global capitalist administration, the crisis works over a fall of the human in relation to which every postulation of an affirmative biopolitics seems insufficient. The biopolitical condition responds to a process of nomic self-consecration of technical structures that dramatically increase the capacity to oppress without doing much for the capacity to tolerate it. This essay engages with Heidegger, Keynes, Weber and Schmitt, as thinkers of the “crisis,” (...) in order to understand their apotropaic modulations in the face of the biopolitical fall that they had themselves detected, and for which today we find ourselves without the conceptual apparatus we need to confront it. (shrink)

In this article, the working of certain bodily processes is presented as the basis for the apotropaic meaning and function of the genitals of the Upper Palaeolithic Venus Figurines. The working of the sympathetic nervous system is identified as the cause of genital arousal due to anxiety. The simultaneous experience of anxiety and the engorgement of the labia and clitoris led to an apotropaic meaning, in addition to a sexual meaning, being assigned to the genitals during the Palaeolithic (...) Era. The ability to think in symbols, which was developing greatly at this time, led to that which could be experienced in bodies being transferred to Venus Figurines. (shrink)

This essay considers the ‘limit’ in Derrida's work from the early consideration of linearisation in ‘Ousia and Grammē’ to the conception of limit as aporia in Aporias. Developing Derrida's tripartite definition of the limit via a reading of Being and Time as closure, border and demarcation, the essay then considers the earlier presentation of limit in Heidegger as temporal primordiality. Developing the metaphysics of line as presentation of presence in terms of Aristotle's aporetics of time as line, the circle is (...) then considered as representing the closed field of presence and its definition via the negation of being's other. This leads to Derrida's early, foundational definition of the law of metaphysics as submission-subtraction, and his proposal of the trace as an alternate way of thinking spatially about being, nonbeing and difference. The second half of the essay then proposes a series of alternative ways of thinking geometrically to those of the traditional metaphysics of point-line-circle topography. Thus topology is proposed as an alternate means of thinking field enclosure, similarity and difference. The figures of the double torus and mathematical limit are proposed as a potential alternative geometry for Western thought. Finally the essay concludes on the apotropaic logic of the problem which echoes that of the trace and is developed in contradistinction to the aporia. Proposing the edge as an interim state between the metaphysics of the line and the deconstructive impossibilities of the aporia, it suggests that the limits of metaphysics are to be found not merely in the apotropaic law of submission-subtraction, but also across alternate geometries which facilitate the bringing together of the two central elements of the totality of Derrida's thinking the limit: différance and singularity. (shrink)

The paper by Szasz is about mental illness and its meaning, and like Procrustes, who altered hapless travellers to fit his bed, Szasz changes the meanings of words and concepts to suit his themes.1 Refuting the existence of “mental illness”, he suggests that the term functions in an apotropaic sense. He submits that in this sense it is used to avert danger, protect society, and hence justify preventive detention of “dangerous” people.But his arguments misrepresent the precise meaning of the (...) term “apotropaic”, which is an adjective, defined in Webster’s, Chambers and the New Shorter Oxford dictionaries as averting or turning aside evil. It is possible that amulets and incantations ward off evil, in the same way as garlic repels vampires, but evil and danger are different concepts. Yet Szasz talks of using phrases like ‘“dangerousness to self and others’ as apotropaics to ward off dangers we fear”, and the word “evil” does not appear in his paper.I will argue that “dangerousness to self and others” and “psychiatric treatment” have a prosaic rather than an apotropaic function.The word “danger” is familiar rather than arcane, and includes many risks. A predatory paedophile is usually both dangerous and evil, but many dangerous people are not evil. For example, a child who plays with a box of matches is dangerous, as is a demented person who drives a car, or a schizophrenic who, acting on delusional beliefs, arms herself with a knife and roams the streets believing she is an avenging angel.Suppose …. (shrink)

Why were the Vestals virgins? An explanation drawing on anthropological studies of witchcraft and the work of Giovannini, Girard, and Douglas allows a partial solution to this and three other puzzles: 1) their unique legal status; 2) their murder at moments of political crisis; 3) the odd details of those murders. The untouched body of the Vestal Virgin is a metonymy for the untouched city of Rome. Her unique legal status frees her from all family ties so that she can (...) incarnate the collective. Thus, in times of crisis, she serves as a pharmakos/pharmakon. Equally, Roman society reveals a deep fear of witchcraft directed at its own matrons. Danger to the urbs is warded off by the punishment of women, both Vestals and wives, and the foundation of public cults of chastity with admonitory and apotropaic functions. A series of incidents over a thousand-year span reveals a world view deeply rooted in sympathetic magic, where the women embody the state and their inviolability is objectified as the inviolability of the community. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Enchantment of Art: Abstraction and Empathy from German Romanticism to ExpressionismDavid MorganA familiar tradition since the eighteenth century has invested art with the power to heal a decadent human condition. Inheriting this ability from religion—the romantic enthusiast Wilhelm Wackenroder considered artistic inspiration to originate in “divine inspiration” in the case of his hero, Raphael 1 —art eventually replaced institutionalized belief in an evolutionary schedule of cultural development determined (...) by German idealism. Hegel, for instance, theorized the evolution of spirit from religion to art as a qualitative advancement over time. Rejecting the metaphysics of German idealism, Friedrich Nietzsche nevertheless contended that “Art raises its head where religions decline.” By assuming the “feelings and moods” of religion which had been dismantled by enlightenment, Nietzsche claimed that art gave new form to the life of feeling and imbued human endeavors with a “loftier, darker coloration.” 2 In the early twentieth century Wassily Kandinsky believed that the “spiritual in art” was the historical manifestation of an “inner necessity” that was in itself timeless and universal. Kandinsky portrayed the “life of the spirit” as “a large acute-angled triangle divided horizontally into unequal parts.” In a kind of “trickle down” aesthetic, the compartments of the triangle move slowly upward toward the apex, which is inhabited by the solitary genius of an age whose vision gradually elevates all those who occupy the lower stages. 3 [End Page 317]The point for proponents of the spiritual in art from romanticism to expressionism (and beyond) was to find in works of art what can best be described as an enchantment. 4 As the negotiation of the gaps or disjunctures separating human beings from complete power over their lives, enchantment conjoins the plane of immediate human experience to a desirable state of affairs through the mediation of such symbolic devices as rituals, incantations, or charms. Thus, evil can be warded off by the use of an apotropaic amulet, and fertility can be enhanced by the recitation of a suitable prayer or the performance of a certain ritual. In a modern analogy a sense of impotence is often alleviated by a trip to the mall where the bored therapeutically lose themselves in symbolic acts of self-renewing consumption. In the traditions of philosophy and science, systems of representation such as astrology, the microcosm, the harmony of the spheres, the great chain of being, the celestial hierarchies, or the mechanisms of theurgy and divination situate humanity within a cosmos that follows a particular order accessible to and in some degree manipulable by human beings. Enchantment consists of an apparatus of belief whose form of representation or enactment is thought to exert influence over the realities it configures.But enchantment is not limited to the spells and magic of premodern metaphysics (or modern consumerism). By means of religion, morality, and aesthetics, Nietzsche once averred, “man likes to believe that... he is touching the heart of the world.” 5 This study will focus on the manner in which art as constructed within the idealist tradition of German art theory functioned as an enchantment. Specifically, it will explore what the history of ideas about abstraction and empathy has to tell us about the spiritualization or enchantment of art. After identifying the philosophical and aesthetic wherewithal of enchantment in nineteenth-century Germany, attention focusses on Franz Marc’s early twentieth-century theorization of abstraction. It is certainly more customary to study Kandinsky, whose writings and early efforts at abstraction are much better known, but Marc’s ideas offer more immediate connections to German intellectual history and clarify the aims of his abstract art as a strategy of enchantment. Moreover, Marc was unusually articulate and wrote often, exploring ideas and artistic efforts with great insight. Focusing on Marc therefore offers a corrective to the historiography that has favored Kandinsky’s writings. Finally, Marc differed from his Russian friend over the cause of the war. Manifesting a difference that is portentous for this study, Kandinsky left Germany for Russia in 1914, while Marc enthusiastically took up arms for the fatherland. Given these circumstances and the unfortunate tendency of art historians to valorize expressionist art rather than situate it in the ideological context of... (shrink)

In medieval Europe, Christian amulets comprised of illuminations and/or script were considered powerful apotropaic shields. This article focuses on a single example, Ms Princeton 235. It is argued that this object primarily functions as a prayer aid rather than as a magical object. Comparable to rosaries or prayer nuts, this amulet conveys its assumed protective powers through specific devotional acts. Its textual program prefigures such pious practices, which include carrying the amulet above one’s heart, folding and unfolding it, reciting (...) a profession of faith and the divine names, making the sign of the cross, and contemplatively looking at a miniature showing the Arma Christi. Through an analysis of how the textual and visual features of Ms Princeton 235 prompt devotional practices, its claim to mediate divine grace and power become comprehensible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 513-516 [Access article in PDF] Deborah Tarn Steiner. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton: Princeton University Press, 2001. xviii + 360 pp. 28 black-and-white figures. Cloth, $39.50. The production of sculpture in metal, stone, and other materials was a craft that virtually disappeared from the Greek world for several centuries after the end of the Bronze (...) Age. Small, solid cast bronze figurines reappeared in the ninth century B.C.E., but it was not until the middle seventh century that the first large-scale stone statues of women and men were created. From that point on, freestanding and architectural sculpture played a central role in Greek society and its artistic expression. While the stylistic evolution of Greek sculpture has been traced many times, in this provocative and ambitious book, Deborah Steiner sets out to examine, from a literary standpoint, "how archaic and classical Greek poets, philosophers, dramatists, and historians introduce statues as cognitive and hermeneutic devices in their texts" (xi). The investigation leads her to analyze what the statues "looked like, how they functioned," and "what they were credited with doing." The resulting book "aims to tell two stories, one about objects, the other about texts, and to show how each proves crucial to the other." The examination is somewhat lopsided, since the intellectual use of the visual material is given far greater emphasis than the statues themselves.The book is divided into five lengthy chapters and an epilogue. The first chapter, "Replacement and Replication," focuses on the physical resemblance of statues to people but not their inner natures. Chapter 2, "Inside and Out," examines, instead, the ways that a statue's exterior can relate more or less exactly to its inner truth. Chapter 3, "The Quick and the Dead," suggests that statues, by their very inertia, closely resemble the dead and therefore mediate in our imagination between the two states. Statues as erotic (or anti-erotic) art objects form the subject of chapter 4, "For Love of a Statue." The fifth and final chapter, "The Image in the Text," returns to the literary relation of sculpture to the production of memory: the similarity between victory odes and victors' statues, funerary epigrams and monuments, and the creation and regulation (on both the social and political levels) of honorary statuary and decrees. The retrospective epilogue is followed by twenty-eight black-and-white illustrations: Most of them depict well-known pieces of sculpture, but there are also several photographs of vase paintings and one of a drachma.In all the chapters, Steiner continually draws attention to the multivalent aspects of statues. The Greeks developed and applied a large and nuanced vocabulary to describe different types of image that embody differences only [End Page 513] poorly translated by our term, "statue": agalma, eidolon, eikon, kolossos, xoanon, and sema. Most of these have provoked extended discussion among modern scholars. The functions that statues played are even more diverse: they could serve as replacements for the absent or deceased individual, as votive offerings, as cult images, as commemorative monuments, as apotropaic devices, as protective symbols, as minatory agents, and occasionally as deadly entities (some statues could madden their viewer and even kill those who abused them or their creators by toppling over). They were also focusing devices that could evoke a wide range of emotional responses, from pity to lust. As exempla they served to instruct, and some could speak with their own voices, sometimes comically (e.g., the herms in Attic comedy) or poignantly through the words inscribed on their bases (e.g., the famous lines of Phrasikleia, the dead maiden who will never be a bride). The repeated use of the first person by funerary figures is particularly evocative. The inscriptions on other figures (like the very early Mantiklos Apollo statuette) make it clear that images could serve as bargaining chips with the gods for past services rendered or debts owed for the future.Other statues defy simple categorization—the Athena Parthenos, for example... (shrink)

Amitav Ghosh's The Hungry Tide has been often interpreted from the point of view of postcolonial studies and environmental studies, overlooking the anthropological implications of the narrative. This paper investigates the worship and the myth of the sylvan deity Bonbibi, and of her counterpart, the demon Dakshin Rai. The goddess, endowed with an apotropaic function, protects the people who “do the forest” from the dangers of the wilderness, epitomized by tigers. According to anthropologist Annu Jalais, who accompanied Ghosh in (...) the Sundarbans when he was collecting material for the novel, Bonbibi is associated with a kind of forest ethics, which is owned by Fokir, the fisherman. This ethics, which in the novel remains in the background due to the urban viewpoint of the protagonists, very coherently explains otherwise eccentric behaviours and elusive answers of subaltern characters such as Fokir, Moyna and Horen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Search of Personal Welfare: A View of Ancient Chinese ReligionAnne Behnke KinneyIn Search of Personal Welfare: A View of Ancient Chinese Religion. By Mu-chou Poo. Albany: State University of New York Press, 1998. Pp. xiii + 331. $21.95.In Mu-chou Poo's new book, In Search of Personal Welfare: A View of Ancient Chinese Religion, the author argues that "by studying relatively 'ordinary' factors, one reaches the basic stratum (...) of the religious mentality of everyday, private life" (p. 3). Poo describes the religious mentality of ancient China at its most fundamental level as being based on a concern for personal welfare and personal access to mantic knowledge. His book investigates broadly shared religious beliefs and practices from China's earliest period up through the Han dynasty, taking into account not just the yearly religious cycle of the common people, but also the relationship between official and local cults.Poo begins with a discussion of archaeological evidence from the late Neolithic period and posits three levels in the development of religious expression in China. The first, appearing perhaps in the late Neolithic and certainly in Shang times, was a form of religious expression directed toward ancestors and nature deities that was divided according to the richness of ritual acts and distinctions derived from an increasingly [End Page 627] stratified society. The second level of religious expression, embraced by the ruling elite of the early Zhou and closely related to agricultural cycles, posited the idea of a moral Heaven that benefited the ruler and the entire state. The third, propounded by intellectuals of the Eastern Zhou, stressed personal piety toward a supreme being, but with little stress on material gain. Despite this threefold development, Poo points out the existence of a more fundamental religious mentality that extended from court to commoner, typified by its emphasis on gaining personal protection from evil spirits and establishing contact with benevolent spirits. Magic, mantic techniques, shamanic rites, and prayers were all utilized toward these ends. As Poo states, "The important matter was propitiation, not where or how the powers came from, or why the powers existed at all" (p. 207). Poo also argues that propitiation of extra-human powers and the use of efficacious apotropaic techniques mattered more than moral behavior, and reliance on these techniques resulted in a confidence that extra-human powers could be successfully dealt with before death. The central theme of religious beliefs in early China was therefore the search for personal welfare: to seek happiness and avoid misfortune.Poo has used a rich array of sources—traditionally transmitted texts as well as recently excavated archaeological texts and artifacts—to examine topics such as divination, exorcism, rishu or "daybooks," immortality, apotheosis, and the netherworld. Poo makes judicious use of the highly limited sources concerning the religious practices of ordinary individuals in early China, though these sources are far more numerous than one might imagine. Given these limitations, Poo's study is highly ambitious and raises questions that must be considered if our view of early China is not to be hopelessly skewed. Poo's reconstruction of the religious practices of the common people is moreover an important contribution to the study of religion in early China in that it helps correct the tendency to represent elite Eastern Zhou culture as the pervasive culture of all periods of early China. [End Page 628]Anne Behnke KinneyUniversity of VirginiaCopyright © 2000 University of Hawai'i Press... (shrink)