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  • Beverly Lemire
    The look and shape, feel and function of the tobacco pipe footnote the transformational features of the early modern Atlantic world: landscapes of exchange. This article focuses on the multiple iterations of the pipe within the wider Atlantic basin arising from Indigenous forms, media that came to define this period, its solitary reveries and diverse sociabilities, systems of power, and deft resistances. The pipe, as the preeminent tobacco technology, reshaped Europe and its Atlantic colonies, materially and culturally, in diverse and quotidian ways. Feeding these pipes initiated critical new habits and processes, defining regions and peoples.
  • Allison Caplan
    As understood from two closely related versions in Books 10 and 11 of the Florentine Codex, a narrative describing interactions between a human knower, sun, and precious stones enables a new interpretation of Nahua accounts of precious stones releasing vapors, while also providing greater insight into the nature of sensory experience in Nahua thought more generally. Attention to the larger narrative suggests that the episode situates descriptions of stones releasing gasses within a larger theory of the role of sensation in forming a sphere of social interaction.
  • Samantha Baskind
    In 1876, Moses Jacob Ezekiel, the first Jewish American artist of international stature, sculpted the world’s first woman, to which he gave the title, Eve Hearing the Voice. Ezekiel fashioned Eve, the only female nude he ever produced, without a navel. No critic has commented on Eve’s nonexistent navel nor the sculpture’s inventive title. Doing so sheds light on an unexpected variation of a popular theme in the history of western art, precipitated by the artist’s engagement with the original source – compelled by the strength of his observant Jewish upbringing.
  • Marie W. Dallam
    What happens when part of the religious history a person believes in turns out to be incorrect? A dissonance is created that must be addressed through new interpretations of past, present, and possibly the future. This article explores early indicators of a reinvented "chain of memory" unfolding in the Church of Jesus Christ of Latter-day Saints—a faith that is itself grounded in a concept of historical restoration—due to a new public understanding of its history of polygamy. Specifically, it considers the example of contemporary visual art that interrogates and rearticulates memories of historical Mormon polygamy as one link in this new chain.