Wilhelm Stekel Contributions to the theory of fetishism and of perversion What did he say about fetishes? They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, What else did he say? when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous Did he have any more comments? points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type.
What did he say next about fetishes?
What did Wilhelm Stekel say next about fetishes?
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3). Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral "self"; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time. In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".  Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.  On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation". CANNOTANSWER
Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them
Wilhelm Stekel (; 18 March 1868 – 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society.". However, a phrase used by Freud in a letter to Stekel, "the Psychological Society founded by you," suggests that the initiative was entirely Stekel's. Jones also wrote of Stekel that he was "a naturally gifted psychologist with an unusual flair for detecting repressed material." Freud and Stekel later had a falling-out, with Freud announcing in November 1912 that "Stekel is going his own way". Stekel's works are translated and published in many languages.

Early life 
Stekel was born in 1868 in Boiany (Yiddish Boyan), Bukovina, then an eastern province of the Austro-Hungarian empire, but now divided between Ukraine in the north and Romania in the south. His parents, who were of mixed Ashkenazi and Sephardic background, were relatively poor, a fact which restricted his life choices. However, the fact that he later used "Boyan" as one of his noms de plume seems to corroborate his own account of a happy childhood. 

After an abortive apprenticeship to a shoemaker, he completed his education, matriculating in 1887. He then enlisted as a "one-year-volunteer" with the 9th Company, Prince Eugen's Imperial Infantry Regiment No 41 in Czernowitz [today's Chernivtsi, Ukraine]. Under this scheme he was not obliged to do his military service until 1890, after completing the first part of his medical studies. He was therefore free to enrol at the University of Vienna in 1887, and studied under the eminent sexologist Richard von Krafft-Ebing, Theodor Meynert,  Emil Zuckerkandl, (whose son would later marry Stekel's daughter, Gertrude), Ernst Wilhelm von Brücke, Hermann Notnagel, and Max Kassowitz. 

From 1886 to 1896 Freud was head of the neurological department at the "1st Public Institute for Sick Children" (otherwise known as the Kassowitz Institute) of which Kassowitz had been the director since 1882. As Stekel worked at this institute during the summer semester of 1891, it seems probable that he knew about Freud then, and possibly was also introduced to him by one of the founder members of the Wednesday Psychological Society, Max Kahane, who also worked there. 

In 1890 Stekel completed the first six months of required military training, which he described as "the most disagreeable period of my life." No doubt in part because of this experience, in 1891 Stekel attended the International Pacifist Convention in Bern, funded by the well-known peace activist Berta von Suttner, and founded a University Pacifists Club supported not only by von Suttner, but also by Krafft-Ebing. 

Nevertheless, he was in such financial straits that at the instigation of his family he applied for a military scholarship. This bound him to another six years of service in the army, and also prohibited him from marrying until his release in 1897. He managed, however, by intentionally failing an examination and using a loophole in the regulations, to gain his release in 1894. 

Thereafter Stekel opened a successful doctor's practice, while as a sideline, following the example of his elder brother, the journalist Moritz Stekel, wrote articles and pamphlets covering issues around health and disease. In 1895 Stekel wrote an article, "Coitus in Childhood" which Freud cited in an article on "The Aetiology of Hysteria" in 1896. The same year Stekel cited Freud in an article on migraine, which, however, did not appear until 1897.

Career 

Stekel wrote a book called Auto-erotism: A Psychiatric Study of Onanism and Neurosis, first published in English in 1950. He is also credited with coining the term paraphilia to replace perversion. He analysed, among others, the psychoanalysts Otto Gross and A. S. Neill, as well as Freud's first biographer, Fritz Wittels. In his 1924 Freud biography, Wittels expressed his admiration for Stekel, to whose school he at that time adhered. This annoyed Freud who wrote in the margin of the copy of the book Wittels sent him 'Zu viel Stekel,' (Too much Stekel). Much later, Wittels, who by then had returned to the Freudian fold, still praised Stekel's "strange ease in understanding" but commented, "The trouble with Stekel's analysis was that it almost invariably reached an impasse when the so-called negative transference grew stronger". Stekel's autobiography was published posthumously in English in 1950.

Contributions to psychoanalytic theory

Theory of neurosis
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".

Considering obsessional doubts, Stekel said,In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.

Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".

Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love.  This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '.<ref>Otto Fenichel, 'The Psychoanalytic Theory of Neurosis (London 1946) p. 224</ref> Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.

Contributions to the theory of fetishism and of perversion
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3).
Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral “self”; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious “self” in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time.
In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".

Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.

On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".

Freud's critique of Stekel's theory of the origin of phobias
In The Ego and the Id, Freud wrote of the "high-sounding phrase, 'every fear is ultimately the fear of death'" — associated with Stekel (1908) — that it "has hardly any meaning, and at any rate cannot be justified", evidence perhaps (as with psychic impotence and love/hate) of his continuing engagement with the thought of his former associate.

On technique
Stekel "was also an innovator in technique...devis[ing] a form of short-term therapy called active analysis which has much in common with some modern form of counselling and therapy".

On aesthetics
Stekel maintained that "in every child there slumbered a creative artist". In connection with the psychoanalytic examination of the roots of art, however, he emphasised that "...the Freudian interpretation, no matter how far it be carried, never offers even the rudest criterion of 'artistic' excellence...we are investigating only the impulse which drives people to create". Analyzing the dreams of artists and non-artists alike, Stekel pointed out that "at the level of symbol production the poet does not differ from the most prosaic soul...Is it not remarkable that the great poet Goethe and the unknown little woman...should have constructed such similar dreams?".

Personal life
Stekel committed suicide in London by taking an overdose of Aspirin "to end the pain of his prostate and the diabetic gangrene". He was cremated at Golders Green Crematorium on 29 June 1940. His ashes lie in section 3-V of the Garden of Remembrance but there is no memorial.

He was married twice and left two children. Stekel's autobiography was published posthumously, edited by his former personal assistant Emil Gutheil and his wife Hilda Binder Stekel. She died in 1969.

A biographical account appeared in The Self-Marginalization of Wilhem Stekel (2007) by Jaap Bos and Leendert Groenendijk, which also includes his correspondence with Sigmund Freud. See also L. Mecacci, Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe, Vagabond Voices 2009, pp. 101

In popular culture
 He is referenced in the episodes 22 and 26 of Ghost in the Shell: Stand Alone Complex.
 A quote attributed to Stekel ("The mark of the immature man is that he wants to die nobly for a cause.  The mark of the mature man is that he wants to live humbly for one.") is referenced in The Catcher in the Rye by J.D. Salinger. Cited by a character in the novel as a statement of Stekel's, it has sometimes been attributed to Salinger and may indeed be his paraphrase of a statement by the German writer Otto Ludwig (1813-1865), which Stekel himself has quoted in his writings: "Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." Cf. q:Wilhelm Stekel#Misattributed.

Selected publications
Stekel W. (1911). Die Sprache des Traumes: Eine Darstellung der Symbolik und Deutung des Traumes in ihren BezeihungenStekel W. (1911). Sexual Root of Kleptomania. J. Am. Inst. Crim. L. & CriminologyStekel W. (1917).  Nietzsche und Wagner, eine sexualpsychologische Studie zur Psychogenese des Freundschaftsgefühles und des FreundschaftsverratesStekel W. (1921). The beloved ego, foundations of the new study of the psyche
Stekel W. (1921) The depths of the soul; psycho-analytical studies
Stekel W. (1922). Compulsion and Doubt (Zwang und Zweifel) Liveright
Stekel W. (1922). Disguises of love ; psycho-analytical sketches
Stekel W. (1922). The Homosexual Neuroses
Stekel W. (1922). Bi-sexual love; the homosexual neurosis (2003 reprint: Bisexual Love. Fredonia)
Stekel W. (1922). Sex and dreams; the language of dreams
Stekel W. (1926). Frigidity in women Vol. II. Grove Press
Stekel W., Boltz O.H. (1927). Impotence in the Male: The Psychic Disorders of Sexual Function in the Male. Boni and Liveright
Stekel W., Van Teslaar J.S. (1929).  Peculiarities of Behavior: Wandering Mania, Dipsomania, Cleptomania, Pyromania and Allied Impulsive Disorders. H. Liveright
Stekel W. (1929).  Sadism and Masochism: The Psychology of Hatred and Cruelty. Liveright
Stekel W. (1943). The Interpretation of Dreams: New Developments and Technique. Liveright
Stekel W., Gutheil E. (1950). The Autobiography of Wilhelm Stekel. Liveright
Stekel W., Boltz O.H. (1950). Technique of Analytical Psychotherapy. Live right
Stekel W. (1952). Disorders of the Instincts and the Emotions -- The Parapathaic Disorders, Vol. 1 and Sexual Aberrations -- The Phenomena of Fetishism in Relation to Sex, Volume 2. (Two volumes in one.) Liveright
Stekel W., Boltz O.H. (1999 reprint). Conditions of Nervous Anxiety and Their TreatmentStekel W. (1952). Patterns of Psychosexual Infantilism Grove Press Books and Evergreen Books
Stekel W. (1961). Auto-erotism: a psychiatric study of masturbation and neurosis''. Grove Press

References

Further reading

External links

 Wilhelm Stekel's article "Poetry and Neurosis. Psychology of the Artist", Heksis 2/2010
 Kazimierz Dąbrowski "Remarks on Wilhelm Stekel's Active Psychoanalysis", Heksis 2/2010
 

1868 births
1940 deaths
1940 suicides
People from Novoselytsia Raion
Austrian Jews
Austrian psychologists
Freudians
Austrian sexologists
Austrian psychoanalysts
History of psychiatry
Suicides in London
Jewish psychoanalysts
Austrian emigrants to the United Kingdom
Drug-related suicides in England
Fetishes is a 1996 documentary by Nick Broomfield filmed at Pandora's Box, one of New York City's most luxurious SM/fetish parlours. The film contains interviews with professional dominatrices and their clients including the New York filmmaker Maria Beatty.

The documentary opens with black and white footage from an Irving Klaw film depicting models, including Bettie Page, wearing fetish attire. Nick Broomfield and his film crew then arrive at Pandora's Box on Manhattan's Fifth Avenue and are given a tour of the facility by Mistress Raven, including the dungeon and the medical room. The rest of the documentary consists of the following eight chapters:
Slaves
Mistresses
Rubber fetish
Wrestling fetish
Corporal punishment
Masochism
Infantilism
Socio-political fetishes

The film was produced in the United Kingdom and was originally made for HBO. It was released in the United States on DVD, (runtime 84 minutes, in colour), and more recently as part of Nick Broomfield's 'Documenting Icons' box set. A full, uncut version with additional archive material is also available in the UK.

See also 
 BDSM
 Fetishism
 Rubberist
 Maria Beatty

External links
 Information about the documentary, including a trailer
 A Chat with Mistress Raven of Pandora's Box (NY Rock)
 Review of Fetishes, Nick Broomfield's documentary on Pandora's Box (NY Rock)
 

1996 films
British documentary films
British films
BDSM in films
Films directed by Nick Broomfield
1996 documentary films
Documentary films about sexuality
Documentary films about New York City Zuni fetishes are small carvings made from primarily stone but also shell, fossils, and other materials by the Zuni people. Within the Zuni community, these carvings serve ceremonial purposes for their creators and depict animals and icons integral to their culture. As a form of contemporary Native American art, they are sold with secular intentions to collectors worldwide. Prior to the establishment of a non-Native market for fetishes, Hopi, Navajo, and other Pueblo peoples, especially at Kewa Pueblo also carved and used fetishes.

Directions and typology 
The primary non-Native source for academic information on Zuni fetishes is the Second Annual Report of the Bureau of Ethnology submitted in 1881 by Frank Hamilton Cushing and posthumously published as Zuni Fetishes in 1966, with several later reprints. Cushing reports that the Zuni divided the world into six regions or directions: north, west, south, east, above, and below. At the center of each region is a great mountain peak that is a very sacred place. Yellow mountain to the north, blue mountain to the west, red mountain to the south, white mountain to the east, the multicolored mountain above, and the black mountain below.

Each direction is represented by a Prey God, or guardian animal, and are listed by Cushing as follows:
north: yellow mountain lion
west: black bear (represented by the color blue),
south: red badger,
east: white wolf,
above or the sky: multicolored eagle,
below or underground: black shrew (often misnamed "mole," but moles do not live in the Southwest).

Each prey god is the “guardian and master” of their region, with the yellow mountain lion being the elder brother of all animals and the master and guardian of all regions. Each one of these regions contains an order of all the guardian animals, but the "guardian and master" of a particular region is the elder brother to all animals of that region. These guardians are considered as having protective and healing powers. They are held by the priests of the medicine orders as if "in captivity" and act as mediators between the priests and the animals they represent.

A second group of fetishes, the Prey Gods of the Hunt, belonging to the Hunter Order, or Society, are given in the “prayer songs of the Sa-ni-a-kia-kwe”. These guardian animals are the same as the original regions with the exception of the coyote, which replaces the bear; and the wildcat (or bobcat), which replaces the red badger. Sa-ni-a-kia is the awakening of the fetish and subsequently the power of the hunter.

In addition to the animals mentioned above, typical Zuni fetishes depict animals such as the wolf, badger, bear, mountain lion, eagle, mole, frog, deer, ram, and others. Contemporary carvers many produce images of exotic subjects – dinosaurs, for example – or some insects and reptiles that are customary but more integral to petroglyphs, symbolism, and the patterns of design in pottery – dragonflies, butterflies, water spiders, and lizards for example. Other animals, such as the horse, were carved in the past mainly for trade. The Zuni was not a horse culture, but their horse carvings were considered by the horse cultures to the north as having great power for the protection of their herds.

Materials 
Historical, carvers used locally sourced materials or item procured by trade or pilgrimages. The most important of these materials was turquoise which the Zuni regard as the sacred stone. Jet, shell (primarily mother-of-pearl), and coral are also frequently used. These materials and their associated colors are principle in the Zuni sunface, a cultural symbol which is present in Zuni jewelry and fetishes and represents their Sun Father]]. Other materials used are travertine or "Zuni rock", fishrock, jasper, pipestone, marble, or organic items such as fossilized ivory, bone, and deer or elk antler. Even artificial substances such as slag glass are used. But historically the most-used stone has been serpentine, a local soft stone found abundantly in the Zuni Mountains and also in Arizona. In recent years Zuni carvings, or fetishes, have become popular collectibles and Zuni artisans have familiarized themselves with materials available from all parts of the world in order to serve the aesthetic tastes of collectors.

Sacredness 
In Zuni cosmology and those of neighboring tribes, each animal is believed to have inherent powers or qualities that may aid the owner. The Navajo, for example, treasured and bartered for figures of horses, sheep, cattle or goats to protect their herd from disease and to ensure fertility. The Zuni hunter, or "Prey brother," was required to have his fetishes (prey gods of the hunt) with a "Keeper" and practice a ceremony of worship when procuring a favorite or proper fetish to aid in a successful hunt. In the ceremony of the hunt the Keeper presented a clay pot containing the fetishes to the hunter. Facing in the direction appropriate to the chosen fetish the pot was sprinkled with medicine meal and a prayer was recited. The fetish was placed in a buckskin bag and carried by the hunter over his heart (Cushing, 1994:33). The fetish aids in the chase and represents "the roar of the animal" and is also fed on the blood of the slain prey.

In addition to the Prey Gods of the Six Regions with their guardian and medicinal powers, and the Prey Gods of the Hunt that aid in the chase, Cushing names three Prey Gods of the Priesthood of the Bow, a society of which he was a member, that aid a Priest of the Bow when traveling in a region where he may be captured by the enemy. These are the mountain lion and great white bear, which belong to the "skies", as well as a prey god of human form adorned with "flint knife-feather pinions and tail". An arrowhead, "emblematic of Sa-wa-ni-kia", or the "medicine of war", on the back or side of either of these animals prevented a warrior from being taken by surprise by his enemy, and an arrowhead on the belly or feet erased the tracks of the carrier so that they could not be followed by the enemy. Unlike the Prey Gods of the Hunt these fetishes were never deposited with a keeper, but like the Prey Gods of the Hunt they were fed on the blood of the slain and their ceremony involved depositing sacred flour to the four directions and reciting a prayer, and like the Prey Gods of the Six Regions they were protective of the carrier.

On the subject of feeding, within Zuni culture it is believes fetishes require periodic meals of cornmeal and ground turquoise. Fetishes may be kept in a clay pot as it is the tradition, although collectors usually like to keep theirs somewhere where they can be admired. Any but the very delicate fetishes could be carried by the owner in a pocket, pouch or bag.

While the Zuni fetish carvings available for sale online are considered "Zuni fetishes," carved by a variety of well-known Zuni carvers, true Zuni fetishes do not leave the village and are blessed by a spiritual leader and used by the carver himself or a special recipient.

Religion as art 

Zuni fetish carvings have been around for centuries. Ancient Pueblo effigies were an earlier form of a Zuni fetish carving. It has only been in recent times that the fetishes have been carved to sell, and have left the village. While the Zuni fetish carvings you see for sale on the internet are considered Zuni fetishes, carved by a variety of well known Zuni carvers, true Zuni fetishes do not leave the village and are blessed by a Shaman or Medicine Man and used by the carver himself or a special recipient.

The artist's styles are as unique as the artists themselves, and there are many whose works are highly sought after by collectors. Some collectors prefer a figure that is more realistic in appearance, while others prefer the more classical styles that are intrinsic to Zuni belief. The customary Zuni perspective is that the least modification of the original material maintains, or heightens, the power of the fetish as a "natural concretion." Realism in carving style is a matter relative to the beliefs of its owner, and the realism in contemporary carving is a product of collector request and demand and the intent of Zuni carvers to raise the level of their art form through participation in the world of contemporary art. The enigma, or apparent paradox relevant to Zuni belief and realism in art is resolved in the notion that carvings for sale and collection are produced without religious intent. For this reason some carvers prefer the term "carvings" rather than the term "fetishes" when referring to offerings for collectors.

A fetish may be signed by the carver, or not. Personalization by signing a piece of art violates the historic Zuni notion of community purpose, and the signing of artwork is a concept introduced to the Zuni by Anglo collectors at the beginning of the 20th century (c. 1915). Often, though, a Zuni carver feels that their own unique style is readily identifiable and the fetish's style will be enough to identify the carver as surely as would any other mark. Most carvers are the recipients of a family practice and have learned their skill from parents, grand parents, or siblings, and have passed the art to their own children as well.

Besides being made from various stones and other materials (each material has unique properties), the contemporary fetish may carry an offering of a smaller animal or a prayer bundle of carved arrowheads with small beads of heishe. It may be adorned with a heishe necklace, feathers, etchings representing ancient petroglyphs, or an etched or inlaid heartline. These small items, although colorful to the eye, are intended to protect and feed the fetish itself.

Notes

References 
Bahti, Mark (1999, 2016) Spirit in the Stone: A Handbook of Southwest Indian Animal Carvings and Beliefs 
Bunzel, Ruth L. (1929). The Pueblo Potter: A Study of Creative Imagination in Primitive Art. 
Cushing, Frank Hamilton (1994). Zuni Fetishes. Tenth printing. Reprint of the Second Annual Report of the Bureau of Ethnology, 1883. Introduction by Tom Bahti. ASIN B000TH8P4C
Finkelstein, Harold (1994). Zuni Fetish Carvings. 
McManis, Kent (1998). A Guide To Zuni Fetishes & Carvings, Volume II, The Materials and the Carvers. 
Young, M. Jane (1988). Signs from the Ancestors: Zuni Cultural Symbolism and Perceptions in Rock Art. Albuquerque: University of New Mexico Press. 
Holmes, Jill M. (1996). "Minerals and their Metaphysical Properties", web.

Further reading 
Cushing, Frank Hamilton, Mark Bahti (1999). Zuni Fetishes. Reprint of the Second Annual Report of the Bureau of Ethnology, 1883. Introduction by Tom Bahti. .
McManis, Kent (1995). A Guide To Zuni Fetishes & Carvings. 
McManis, Kent (1998). A Guide To Zuni Fetishes & Carvings, Volume II, The Materials and the Carvers. .
Riggs, David Austin, Darlene Meader Riggs (2008). ZUNI SPIRITS: A Portfolio of Fine Zuni Fetish Carvings. Introduction by the Zuni Governor, Norman Cooeyate.
Bennett, Hal Zina (1993). ZUNI FETISHES: Using Native American Objects for Meditation, Reflection, and Insight. 

American Indian relics
Indigenous sculpture of the Americas
Indigenous culture of Oasisamerica
Stone sculptures
Zuni mythology