In the central Andes, complex civilizational processes and dramatic biophysical phenomena have concurred for thousands of years. The confluence of these cultural and natural forces implies that environmental disturbances should be neither overemphasized nor ignored but adequately included as a variable in the modeling of the cultural processes of the Andean prehistory. In this sense, it is justified to clarify why and how people from pre-Hispanic urban centers preferred to accept risk associated with disaster-prone settings and how they eventually developed social responses to biophysical hazards through centuries.Framed within this purpose, this dissertation takes as a case study the prehistoric urban center of Cajamarquilla (138 ha) located in a flood-prone sector on the arid Peruvian central coast, and occupied mainly but intermittently for a period of almost 800 years between ca. AD 650 and 1400 (from the Middle Horizon to the Late Intermediate Period). My research was built on the basis of theoretical and methodological contributions of the Historical Ecology, Anthropology of Disasters, and Environmental Archaeology. Thus, it included conventional archeological procedures, a geomorphological characterization of the study area, and archaeobotanical and geoarchaeological methods and techniques. Although a range of contexts were analyzed, the study of the hydraulic (first-order irrigation canals) and storage (underground silos) systems associated with the site were strongly emphasized. Results indicate that the interspersed occurrence of droughts and floods with phases of dynamic constructive activity in Cajamarquilla express a form of risk normalization. This included the maximum use of clay soils and the involvement of the site residents with planned abandonment processes, although apparently sudden final abandonment has also been documented. While it has been verified that occupational dynamics in Cajamarquilla were constantly constrained by regional eco-climatic conditions, these always responded simultaneously to the socio-political controls of each era, so that social responses were not only multifactorial in their origins but also multipurpose in their ends, an illustration of this being the thousands of bottle-shaped, capacious silos that characterize the site. This makes sense with the integrative culture-nature worldviews of the indigenous Andean societies. Finally, this investigation also finds that, beyond the common socio-environmental connotation noted above, social action in Cajamarquilla also shows substantial differences between its different cultural occupations when dealing with environmental determinants: Its earliest inhabitants carefully planned an ambitious technological equipment (canals and silos), while its later inhabitants were characterized by their marked sense of opportunism and pragmatism both in the use/readjustment of such inherited technologies and the rules of community life within the settlement. In general, beyond usual binary frames that oppose determinism versus possibilism, or collapse versus resilience, the case of Cajamarquilla raises the anthropological need for an integrative approach focused on how and to what extent cultural and natural forces intermingle in urban life.

Greek literature is infamous for its fondness of narrating in horrific detail the violent plots of man versus man, man versus beast, and even man versus god, encompassing conflicts that range from individual vendettas to large-scale warfare. The extant stories of Greek epic and drama preserve merely a snippet of the ancient audience’s fascination with violence in all its forms. Depicted among these bloody confrontations is a subject that seems taboo even to modern viewers—kin murders. Epic conceals the most brutal violations of kinship ties, preferring a more nuanced approach to such horrors. Tragedy, in contrast, relishes translating these particular crimes onto the public stage. However, in dramatic performance the violent acts themselves are only either described in words or alluded to; they are always completed off-stage, and audience members must rely on their imaginations to recreate the most offensive parts of an episode. There is a similar hesitation in visualizing these gruesome stories of parents slaying children, wives murdering husbands, brothers turning against each other, or sons slaughtering mothers in Greek art. In contrast, there are numerous portrayals of lethal violence in other contexts that are unabashedly explicit and shockingly gory. For example, images of quarrels between political rivals or cultural others enjoyed popularity from the earliest periods of Greek art. But depictions of sanctioned violence in the military sphere occupy a different realm than the rare illustrations of the most sinister of transgressions—the murder of one’s own kin. The tantalizing few examples of this exceptional category of violence prompt further study, yet there has never been a comprehensive investigation on portrayals of intrafamilial murder in in the visual repertoire. In Kindred Killers: Intrafamilial Murders in Archaic and Classical Greek Art, I bring together and examine for the first time the evidence for murder against kin in Greek art from the seventh to the fourth centuries BCE. I assemble a catalog of 202 images related to four types of intrafamilial murder within the nuclear family unit: filicide, spousal homicide, parricide, and fratricide. Geographically, the material spans from mainland Greece, including Attica, Corinth, and the Peloponnese, to East Greece, and to South Italy and Sicily; the objects range from pottery, shield bands, seals, and other representatives of the so-called minor arts, to statue groups, temple architecture, and lost monumental wall paintings. I investigate the iconographic patterns of the four typologies, tracing their changes through time, medium, and area of production, while also considering factors, such as manner, intent, and motivation, in order to establish a visual language for “intrafamilial murder.” I frame the images within broader, shifting cultural notions of violence and explore how the various scenes of kinship murder challenge and solidify social norms, negotiate interpersonal power, and express the tensions brought about by ever-changing family dynamics.

Civilized culture is killing the planet. At present, we are facing the largest extinction event in 65 million years and the cause, according to most scholars, is "patently" human. My question, however, is not whether the mass destruction of the biosphere is the result of an unfortunate and misguided particularity within civilization (e.g., over consumption, driving too much, etc.), but rather: Is it the case that civilization, by its very nature, entails the destruction of the natural world and of both human and non-human communities? In the vein of a fairly recent movement in scholarship, my answer is a resounding "yes." Taking a cue from one of the foremost voices of this recent movement, Derrick Jensen, I'll briefly trace the genesis and justification of the following premise: "Civilization is not and can never be sustainable," as well as the philosophical fallout of what this may mean for us today. Employing the thought and method of certain strands of phenomenology, I first examine how it is that civilization appears in our collective everydayness and how certain movements within this appearance give way to its replication, continuation, and (largely) unquestioned legitimacy. From there, I move to incorporate the insight of Theodor Adorno and other critical theorists, uncovering the finer ideological strands that tie us to civilization. From the arguments outlined by Jensen, John Zerzan, and others, I make a case for the active rejection and dismantling of civilization, ultimately attempting to articulate a philosophically based strategy of resistance.

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This rhetorical study applies Clare W. Graves' "Level of Existence" or value systems theory to the English Neo-Classic and Romantic Movements. Graves' framework, which focuses on sacrificial (Tribalistic, Absolutistic, and Sociocentric) systems and expressive (Egocentric, Achievist, and Individualistic) systems~was utilized in analyzing the politics, society, religion, philosophy, and literature of the two periods. The Neo-Classic Period was dominated by sacrificial systems, especially Absolutistic, while the Romantic Movement was dominated by expressive systems, especially Achievist. This thesis suggests that man's cultural development, like his psychological development, appears to evolve in a spiraling, pendular motion between sacrificial and expressive systems.

Early modern Lutherans, as is well known, worshipped in decorated churches. They adopted a path of reform that neither disposed of all ornament nor retained all the material trappings of the Catholic church. This thesis studies the fortunes of ecclesiastical art in the Duchy of Württemberg after its Reformation in 1534 and the place images found for themselves in the devotional lives of Lutherans up to c. 1700. The territory was shaped not just by Lutheranism, but initially by Zwinglianism too. The early years of reform thus saw moments of iconoclasm. The Zwinglian influence was responsible for a simple liturgy that distinguished Württemberg Lutheranism from its confessional allies in the north. This study considers the variety of uses to which Lutheran art was put in this context. It addresses the different ways in which Lutherans used the visual setting of the church to define their relationships with their God, their church, and each other. The Dukes of Württemberg used their stance on images to communicate their political and confessional allegiances; pastors used images to define the parameters of worship and of the church space itself; parishioners used images, funerary monuments, and church adornment to express their Lutheran identity and establish their position within social hierarchies. As Lutheranism developed in the seventeenth century, so too did Lutheran art, becoming more suited to fostering contemplative devotion. While diverse in their aims, many Lutherans appreciated the importance of regular investment in the visual. Ducal pronouncements, archives held centrally and locally, surviving artefacts and decoration in churches, and printed sources enable the distinctive visual character of Lutheranism in Württemberg to be identified here.