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Eighteenth-century Indians and Europeans meeting on the council grounds relied on the human body as a resource for metaphors that could explain their relationship: that because they were all people with arms, legs, eyes, and ears, they would join in one body with one heart and one mind and become one people. This was the language of peace negotiations, but as conflicts erupted over broken agreements and European expansion, increasingly the human body provided the metaphors to explain why they were not one people — they had different skin colors. In particular, Indians began to claim an identity as “red people” sometime in the early 18th century, a trend originating among Southeastern Indians such as the Cherokees and Creeks, probably because it made sense within an existing color symbolism organized around “red” (the color for war) and “white” (the color for peace) and because Europeans settling in the Southeast at that time had identified as “white people,” instead of “Christians” which was still the prevalent term in the Northeast, to distinguish themselves from their “black” slaves. Indians adopted the same racial terminology as Europeans (and vice versa) but endowed the terms with different meanings, so that “red” came to be a source of pride and supremacy, for the “red people” were here first, and “white” came to be associated with the accumulation of wealth and greed.

The Kālacakra-tantra is considered one of the most authoritative tantric traditions, and the chapter examines the homa as found in that tradition. Instructions for the construction of a ritual site include color symbolism, revealing another layer of symbolic associations between the type of ritual and the requirements for its effective performance. Also discussed are the directions and locations where a ritual hearth is best constructed, along with its size and shape. In contrast to other texts discussed in this collection, the texts discuss five kinds of ritual performance. According to this tradition, while external homa can accomplish mundane goals, it is only the internal homa in which the awakened consciousness acts as the ritual fire that can accomplish the ultimate goal of awakening.

This chapter studies Sylvester Stallone's first seven films as director. These include: Paradise Alley (1978), Rocky II (1979), Rocky III (1982), Staying Alive (1983), Rocky IV (1985), Rocky Balboa (2006), and Rambo (2008). Stallone's accomplishments with Rocky and Rambo are considerable. He has made significant progress in recovering his stardom by resuscitating his signature roles and in forging an authorial identity. He has also demonstrated a mastery of contemporary Hollywood aesthetics, while extending the strategies of his earlier films, particularly with regard to editing. In this, he continues to offer a distinct variation on prevailing trends. In Paradise Alley, this meant overt colour symbolism alongside a self-conscious mobilisation of classical Hollywood conventions in relation to 1970s genre revisionism. Rocky II, III, and IV saw him develop a form of melodramatic storytelling that is nonetheless classicist, inflected with elements of the backstage musical seen most explicitly in Staying Alive.

In September 1886, John and Richard Mortimer excavated a large barrow at Garton Slack, East Yorkshire (Mortimer 1905, 229). At the centre of the barrow lay the inhumation burial of a young adult male. A flint knife, a clay button, and two lumps of yellow ochre had been arranged behind his head; at his left hand were two quartz pebbles and fragments of two boar’s tusks, while the scapula of a pig had been laid on top of his ribs. One detail of this burial seems particularly alien to contemporary eyes, however. When the body had begun to decompose, his mandible was removed and placed carefully on his chest, and a miniature Food Vessel inserted into his mouth. Here, a pot replaced an element of the human self and the physical boundary between person and object was elided: the open mouths of both pot and body worked as channels through which relationships flowed in processes of communication and commensality. This chapter will explore the relationship between people and objects in the Bronze Age. The Bronze Age saw the introduction of new technologies, notably metalworking, which had a significant impact on concepts of personhood and identity. A greater diversity of materials was employed than in previous centuries, including visually striking substances such as amber and faience, while more ‘mundane’ materials such as bone were used to make a new and wider variety of objects, particularly during the later part of the period. Such objects were incorporated into new contexts too, notably settlements and burials, and our interpretation of these finds—especially those from burials and hoards—has had a significant impact on our understanding of the period. We will start by examining objects from Early Bronze Age contexts, focusing in particular on burials, before moving on to consider what technologies such as metalworking and cloth production can tell us about the construction of concepts of the self in the Middle and Late Bronze Age. During the early part of the period, artefacts such as copper-alloy daggers, bone pins, pottery vessels, and stone tools were buried with the dead.