Bringing together contributions from established scholars as well as promising younger academics, the seventeenth volume of this established series offers a broad-ranging view of why Judaism, a religion whose observance is more honored in the breach in most western Jewish communities, has garnered attention, authority, and controversy in the late twentieth century. The volume considers the ways in which theological writings, sweeping social change, individual or small-group needs, and intra-communal diversity have re-energized Judaism even amidst secular trends in America and Israel.
How has the Jewish family changed over the course of the twentieth century? How has it remained the same? How do Jewish families see themselves--historically, socially, politically, and economically--and how would they like to be seen by others? This book, the fourteenth volume of Oxford's internationally acclaimed Studies in Contemporary Jewry series, presents a variety of perspectives on Jewish families coping with life and death in the twentieth century. The book is comprised of symposium papers, essays, and review articles of works published on such fundamental subjects as the Holocaust, antisemitism, genocide, history, literature, the arts, religion, education, Zionism, Israel, and the Middle East. Published annually by the Avraham Harman Institute of Contemporary Jewry at The Hebrew University of Jerusalem, the Studies in Contemporary Jewry series features current scholarship in the form of symposia, articles, and book reviews by distinguished experts of Jewish studies from colleges and universities across the globe. Each volume also includes a list of recent dissertations. Volume XIV: Coping with Life and Death: Jewish Families in the Twentieth Century will appeal to all students and scholars of the sociocultural history of the Jewish people, especially those interested in the nature of Jewish intermarriage and/or family life, the changing fate of the Orthodox Jewish family, the varied but widespread Americanization of the Jewish family, and similar concerns.
The seventh volume of the acclaimed annual publication of the Institute of Contemporary Jewry at the Hebrew University of Jerusalem, Jews and Messianism in the Modern Era: Metaphor and Meaning examines the significance and meaning of messianic metaphors, themes, and ideals in modern Jewish history and culture. In addition to the standard symposia, book reviews, and lists of recent dissertations in Jewish studies, the volume includes contributions from such noted scholars of Jewish history as Jody Elizabeth Myerson on the messianic idea and Zionist ideologies; Aviezer Ravitsky on Zionism and the state of Israel as anti-messianic undertakings; Yaacov Shavit on realism and messianism in Zionism and the Yishuv; Hannan Hever on poetry and messianism in Palestine between the two world wars; Paul Mendes-Flohr on Jewish theological responses to political messianism in the Weimar Republic; and Richard Wolin on Jewish secular messianism.
The newest volume of the annual Studies in Contemporary Jewry series features essays on the varied and often controversial ways Communism and Jewish history interacted during the 20th century. The volume's contents examine the relationship between Jews and the Communist movement in Poland, Russia, America, Britain, France, the Islamic world, and Germany.
In Memory of My Feelings: Frank O'Hara and American Art is a reexamination of the relationship between art and poetry at a crucial moment in American art. It also offers new insights into the charismatic figure of Frank O'Hara and his world and interests, which included art, music, theater, dance, film, and mass culture.
Ever since the birth of the human race there have been health and disease. Everywhere we find those who live at levels of comprehension that cannot express in flesh the perfect power of the word and these must by natural law take on the form of whatever they have power to comprehend. Health is man's immortal birthright; it is eternal in the universal plan, and it can be made to become eternal in the life of men in just the hour they understand the laws of their own being. There are two expressions of energy in the universe; one is called the constructive, the other the destructive; the one builds up, the other tears down. This must forever be so, for only as matter is destroyed and passed back into energy can the energy pass out again into finer forms. Living in these great universal currents of construction and destruction, man relates himself constantly with one or both through the simple law of his own consciousness, and only as he learns the laws of his own being and consciously places himself in a position of power can he ever hope to escape the results which the negative, destructive currents produce in his body and his environment. Today we know that the world in which we live is nothing but a great sea of energy which, in the undifferentiated, is called God, and in the differentiated is called matter or form, or, to make it more simple, we can call one the energy that creates, and the other the things created from and by this energy. Man and his environment are created by this energy: He is a localized center of force and he becomes the expression in form of just whatever he relates with under the law of cosmic correspondence. We have found that this great energy is also intelligence and is nothing but mind with its various manifestations. We know today that the atoms of the atmosphere are intelligence, and as they touch one another throughout space, it is through this atomic mind that messages are carried, and currents are generated which can heal patients at a distance. Everything in the universe is in a state of intelligent association, and when the atoms become expressed in human form, they pass into that expression of the universal mind known as human consciousness. All human life is simply different tastes of consciousness brought about by the different vibratory rates to which our atoms respond.
Integration of designing and making are presented here as the common ground between contemporary craft, architecture, and the decorative arts. This perspective offers a nuanced understanding of craft. A photo essay documenting the integration of craft and architecture at the Fuji Pavilion in the Montreal Botanical Garden is also included.
Was the Holocaust a natural product of a long German history of Anti-Semitism? Or were the Nazi policies simply a wild mutation of history, not necessarily connected to the past? Or does the truth lie somewhere in between? This latest volume in the acclaimed Studies in Contemporary Jewry series, edited by internationally known scholars at the Hebrew University in Jerusalem, presents essays on the origins of the Holocaust. The works in this volume are diverse in scope and opinion, ranging from general philosophical discourses to detailed analyses of specific events, and often reflecting the divergent ideologies and methods of the contributors. But each adds to the whole, and the result is a fascinating panorama that is sure to be indispensable to all students and scholars of the subject.
Illegal Jewish immigration to Palestine prior to the founding of the State of Israel forms one of the most fascinating chapters in the history of Zionism and modern Jewish history. Bringing Jews from Europe to Palestine by land and by sea in defiance of restrictive British immigration policies was partly an undertaking of national rescue and partly a calculated strategy of political brinksmanship. In this compelling analysis, Ofer examines various illegal immigration and rescue efforts organized by the Palestinian Jewish community in both the beginning and latter phases of the war. Making exhaustive use of archival sources, Ofer provides invaluable insight into the struggles of the immigrants, the activists and supporters of the movement, the logistical obstacles, and the political forces working to halt or exploit the flow of refugees.
This book is a concise guide to and analysis of the complexities of modern Jewish politics in the interwar European and American diaspora. "Jewish politics" refers to the different and opposing visions of the Jewish future as formulated by various Jewish political parties and organizations and their efforts to implement their programs and thereby solve the "Jewish question." Mendelsohn begins by attempting a typology of these Jewish political parties and organizations, dividing them into a number of schools or "camps." He then suggests a "geography" of Jewish politics by locating the core areas of the various camps. There follows an analysis of the competition among the various Jewish political camps for hegemony in the Jewish world--an analysis that pays particular attention to the situation in the United States and Poland, the two largest diasporas, in the 1920s and 1930s. The final chapters ask the following questions: what were the sources of appeal of the various Jewish political camps (such as the Jewish left and Jewish nationalism), to what extent did the various factions succeed in their efforts to implement their plans for the Jewish future, and how were Jewish politics similar to, or different from, the politics of other minority groups in Europe and America? Mendelsohn concludes with a discussion of the great changes that have occurred in the world of Jewish politics since World War II.
From the unification of North and South Yemen, to the struggle for Mahgreb unity, and the experiences of the six-member Gulf Cooperation Council, this book presents a complex portrait of the history and prospects for Arab integration.
An inspirational guide for all levels of expertise, Creative Sequencing Techniques for Music Production shows you how to get the most out of the four leading audio sequencers. Using real-life examples, Andrea Pejrolo demonstrates a wide range of technical and creative techniques, giving you tips and new ideas to help you take your work to the next level. Creative Sequencing Techniques covers sequencing from the basics, through intermediate to an advanced level, making this book ideal for music students and acoustic and MIDI composers. With a free CD containing loops, templates and audio examples, and end of chapter exercises to practise new skills, this illustrated practical guide provides all the tools you will need to give your music the vital edge. In a clear, accessible style, Andrea Pejrolo guides you through: * Essential studio equipment, advising on MIDI devices (controllers, synthesizers, sound modules and sequencers), mixing boards, monitors and computers * Basic sequencing topics such as recording and editing techniques and automation * More advanced topics such as groove quantization, converters, sounds layering, tap tempo, creative meter, tempo changes and synchronization * Orchestration for the MIDI ensemble, using both acoustic instruments and synthesizers * Creating a professional final mix, using mixing techniques that take advantage of plug-in technology, maximising the use of effects such as reverb, compressor, limiter, equalizer and much more The accompanying CD is loaded with more than 90 examples of arrangements and techniques, giving you advice on how to troubleshoot those common mistakes and perfect your music production. Anyone producing music who wants to build on their skills in orchestration, composition and mixing will find all the techniques and practical advice they need in this book. Whether you are a student or amateur aspiring to more professional results, or a professional wanting to master new skills, this book will help you to improve the overall quality of your work.
“The Light and Space movement—of great importance to my development as a young artist—is far more than a valid art historical reference. It translates matters of psychology, phenomenology, criticality, emotional investment, and now-ness into an immaterial language that is both subversive and compelling. Light and Space is as contemporary as ever.” —Olafur Eliasson
The sixth volume of the annual publication of the Institute for Contemporary Jewry at The Hebrew University of Jerusalem, Art and Its Uses analyzes the levels of meaning present in a wide range of visual images, from high art by Jewish artists to Judaica, caricatures, and political propaganda. The use of such material to illuminate aspects of modern history and society is rather uncommon in the field of modern Jewish studies; these essays provide the tools necessary for understanding the image in its proper social and political context. The distinguished contributors include Richard I. Cohen, Michael Berkowitz, Milly Heyd, Irit Rogoff, Chone Shmeruk, Ziva Amishai-Maisels, Vivianne Barsky, and Vivian Mann. Accompanied by more than 160 illustrations, the essays shed new light on such topics as Jewish nationalism, Jewish identity, and Jewish-gentile relations. In addition to the symposium, the volume contains articles by major scholars of contemporary Jewish studies, a substantial book review section, and a list of recent dissertations in the field.
The eighth volume of the acclaimed annual publication of the Institute of Contemporary Jewry at the Hebrew University of Jerusalem, this volume focuses on the history and development of American Jewish life since World War II. Contributions include "A 'Golden Decade' for American Jews, 1945-1955" by Arthur A. Goren, "American Judaism: Changing Patterns in Denominational Self-Definition" by Arnold Eisen, "Value Added: Jews in Postwar American Culture" by Stephen J. Whitfield, "The Postwar Economy of American Jews" by Barry R. Chiswick, "Jewish Migration in Postwar America: The Case of Miami and Los Angeles" by Deborah Dash Moore, and "All in the Family: American Jewish Attachments to Israel" by Chaim Waxman. The volume also contains essays, book reviews, and a list of recent dissertations in the field.
First Published in 1982. The Empire Strikes Back examines the place of 'race' and racism in the political transformation of Britain at the end of the seventies, and argues that Britain has entered a longterm political and economic crisis which has brought new urgency to the politics of race and nation. The authors explore the elements of a new, culturally focused racism which, in representations of black families, stresses their alienness and the supposed criminal inclinations of the black population. They argue that the British state is very far from its popular image as a liberal democracy, and that all our notions of culture, nation and class are based on deeply racist structures. Key areas of state intervention such as schooling, policing and policy-oriented 'race relations' research are analysed to demonstrate that a definition of the growing crisis in the economy and social services is emerging, which shifts the focus of blame on to black people. The authors argue that existing race relations theory has significantly failed to deal adequately with the British situation. In particular, the experience of black women and the political organization of young black people raises major problems for race-blind feminism and Eurocentric Marxism alike. In conclusion, the book assesses the political relation of race to class, and suggests that any long-term struggle against racism must begin by recognizing the autonomy of black struggles at all levels of British society.
Jeff Wall is one of the leading international contemporary artists of the nineties. His work consists primarily of large photographic transparencies mounted in lightboxes, drawing on themes from art history, advertising, film, and documentary photography. These are constructed images, making use of sets and actors, which play on several layers of meaning. This book covers the full range of Wall's work and includes previously unseen photographs. Kerry Brougher's essay covers the entire period of development of Wall's work and discusses its relationship to historical and contemporary visual media.
Howard Ben Tre provides a comprehensive survey of the artist's oeuvre in stunning colorplates of his major sculptures, including many recent public projects, as well as his works on paper. 110 colour plates
This 1984 book deals with those social transformations which occurred in Chinese society since the revolution in 1949. During the 1950s the Chinese Communist Party introduced a rigid system of class labels (e.g. landlord, rich peasant, middle peasant, landless labourer) based on pre-revolutionary notions of exploitation and property ownership. The class label system was a source of much social discontent during the 1960s and mid-1970s; the official use of labels ceased by the time of this book's publication, but the effects of the system are still felt by millions of Chinese. The book will be of interest to a wide range of readers, not just those who specialise in Chinese social history. Contributors include two anthropologists, one historian, three political scientists, and three sociologists.
Published annually by the Institute of Contemporary Jewry at The Hebrew University of Jerusalem, this acclaimed series includes symposia, articles, book reviews, and lists of recent dissertations by major scholars of Jewish history from around the world. This brilliant collection of essays examines the dialogue between Jewish history and historiography in terms of changing national and popular myths, folk memory, and historical consciousness of Jews in modern times. From essays dealing with the origins of Jewish historiography in the 19th century, to its contemporary perspectives and methodologies, this book provides a great overview and varied insights into the field.
An illustrated examination of a work—a Warhol that isn't by Warhol—that embodies a shift in attitudes about artistic authorship and originality. Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930–2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol's own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, “I don't know. Ask Elaine.”) In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn's author, and explains that mistaken identity is part of Sturtevant's intention for the operation of the work. She discusses the ways that Sturtevant's methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber's shooting a bullet through a stack of Warhol's Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant's decision to remake the work. Lee writes that Sturtevant's critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges's “Pierre Menard, Author of the Quixote,” who recreates a section of Cervantes's masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant's work as illuminating her broader artistic aims and principles.
Light, considered the purest embodiment of the divine, is the basis of all art to one degree or another, so why not make art out of light? Dan Flavin (1933-96), an innovative and prolific American sculptor who can be considered an abstract, minimalist, and installation artist, chose as his medium commercial fluorescent tubes, and with these everyday lights created works of radiant and evocative beauty. Flavin had many major shows and created a number of permanent public installations; now his work is being celebrated in a magnificent retrospective exhibition that will travel across the country. This handsomely produced volume by Govan, director of the Dia Art Foundation, and Bell, who worked with Flavin, presents exquisite photographs of Flavin's seminal light compositions and expert biographical and critical assessments. Citing Byzantine icons, William Ockham, and Barnett Newman as influences, Flavin created ravishingly beautiful colors and profoundly nuanced constructions with seemingly banal industrial materials, transforming ordinary spaces into places of wonder. For a definitive catalog see Dan Flavin: The Complete Lights, 1961-1996
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