This title was first published in 2000: Comprising over one-third of the land area of Israel, the Negev is home to more than 400,000 residents representing one of the most unusual ethnic mixes in the world. Immigrants from many regions and countries: North Africa, Ethiopia, the Middle East, India, Europe, North and South America, and the Republics of the former Soviet Union, now reside in the Negev along with indigenous Bedouin Arabs and Jews born in Israel. Transitions is a dedication to the Negev people, brought together by Richard Isralowitz of Ben Gurion University, Israel and Jonathan Friedlander of the University of California, Los Angeles. It documents a year in the lives of three groups of people through carefully selected and expertly written chapters contributed by Israeli scholars familiar with issues of immigration and immigrant absorption, regional development, health, education, as well as racial and ethnic conflict concerning Russian, Ethiopian and Bedouin people of Israel’s arid southern region. The chapters are juxtaposed with the vivid and provocative colour and black and white images of photographer Ron Kelley who focuses on the process of assimilation, within the broader context of Israeli society, revealing complications of nationalism, ethnic rivalries and competition over limited resources, amidst a prevailing concern for national security. Prepared with support from the US/Israel Binational Education Foundation (Fulbright Scholars Program) and the Israel Council of Higher Education, Transitions is an extraordinary and unique study of people, their environment and interaction.
Facsimiles of selected documents from the Va'ad ha-Hatzalah Collection and Rescue Children, Inc., Collection of the Yeshiva University Library relating to the activities of these organizations during the Holocaust.
Quicklets: Your Reading Sidekick! This Hyperink Quicklet includes an overall summary, chapter commentary, key characters, literary themes, fun trivia, and recommended related readings. ABOUT THE BOOK When Tina Fey left Saturday Night Live at the end of the 2005-2006 season to concentrate on developing, writing, and starring in a new program for NBC, reaction among comedy fans was mixed. On the one hand, SNL had lost yet another of the talented cast member who made it a resurgent hit in the late 1990s. On the other hand, anticipation of Fey’s new show was high. Fey had originally pitched the series to NBC as a sitcom about a cable news network during early in her tenure as a writer for SNL. According to Time, when the pitch was rejected, she reworked the idea into a show revolving around a sketch comedy series and variety show not unlike SNL. NBC ordered a pilot for the show, which was well-reviewed upon its October 2006 debut, and went to series as 30 Rock. Although 30 Rock has rarely been a ratings darling, online reviews and critical establishment barometer, Metacritic, shows that it has been one of the critical establishment’s most consistently well-reviewed television programs of the past ten years. It is also one of the best-reviewed comedies of all time. MEET THE AUTHOR Jonathan Nathan is a writer, an editor, and a comedian living in San Francisco. His work has appeared in the San Francisco Chronicle, California Northern, The Rumpus, McSweeney's Internet Tendency, BeyondChron, the Hutchinson News, and other publications. EXCERPT FROM THE BOOK There are two main storylines in the first season: Liz Lemon’s struggle to find a compatible romantic partner while balancing her work and personal life, and the adjustment of the cast and crew of TGS to the new additions of Jack Donaghy and Tracy Jordan. Lemon’s personal life is the meatiest and most constant plotline in the season, as she is the protagonist of the series and her work/life conflicts are largely the narrative hook of the show. In the first few episodes, her love life is barely mentioned, reflective of a new series still struggling to find its voice. The third episode of the series, “Blind Date,” is the first to venture in this direction, and although it’s primarily a one-and-done, short-term story played for awkward laughs when Jack sets Liz up on a blind date with a friend of his who turns out to be a woman (because, in his words, her shoes “are definitely bi-curious”). The episode met universal acclaim and was greeted by many critics as a hopeful sign of things to come. The plotline was more earnestly engaged a few episodes later in “Jack Meets Dennis,” when Liz takes back her ne’er-do-well ex-boyfriend, Dennis Duffy, to whom a few allusions had been made earlier in the season. Duffy is an obnoxious lout who epitomizes the stereotypes of the boorish South Bostonian, but Liz finds it hard to leave him permanently because he’s easy and low-maintenance. Jack strongly disapproves, and warns Liz that she faces a mediocre life with Dennis in her future... Buy a copy to keep reading!
ABOUT THE BOOK 30 Rock emerged from its first season into a changing comedy world. New leaders like Louis CK and Patton Oswalt were taking the standup world by storm. Even the pop-star status of Dane Cook, often reviled by hardcore comedy fans for his unadventurous material and impersonal style, represented a culture thinking about comedy as an essential need. This culture thought about comedy performers as distinct, individual voices to be followed loyally. On television, new shows like The Sarah Silverman Program and The Naked Trucker and T-Bones Show debuted on Comedy Central. Silvermans show, in particular, was crammed with longtime alt comedy favorites like Brian Posehn, Jay Johnston, and Steve Agee. It was produced in part by Rob Schrab, creator of the cult classic comic book Scud: The Disposable Assassin. At the cinema, The Simpsons, once the standard-bearer for an advancing vanguard of hip, post-modern, ironic, anti-establishment comedy, completed its journey into the mainstream by releasing one of the top-grossing films of 2007. Oswalt received his first major motion picture starring role in Ratatouille, a movie which ended up sweeping the major awards ceremonies in the Best Animated Film category. MEET THE AUTHOR Jonathan Nathan is a writer, an editor, and a comedian living in San Francisco. His work has appeared in the San Francisco Chronicle, California Northern, The Rumpus, McSweeney's Internet Tendency, BeyondChron, the Hutchinson News, and other publications. He's written about everything from politics to philosophy, from sports to cinema, from drugs to thugs. EXCERPT FROM THE BOOK One of the elements that Tina Fey and other creative minds behind 30 Rock sought to bring more to the forefront in the second season of the program was the idea of the strong recurrent subplot. While narrative elements had certainly appeared and reappeared throughout the shows freshman season, they had been decidedly in the background. That changed in Season 2, as a very clear throughline emerged as the prominent focal point of the show: Jack Donaghys attempts to rise in the corporate ranks at General Electric. At the end of the first season, Donaghy had suffered a heart attack brought on by issues in his personal life stemming from conflicts with everyone in his life from his mother to his girlfriend to Liz Lemon. He comes back strong in the premiere of the second season, having had a winning offseason as a television executive. He and Lemon are both certain that this will be their year. Donaghy, in fact, is quite sure that he has a shot at becoming the next chairman of GE. The current head of the company, Don Geiss, has been sending signals that he plans to retire soon, and Donaghy believes he has a strong chance at becoming his hand-picked replacement. However, Donaghy is thwarted by his old nemesis from the first season, Devon Banks. Banks, a gay man, has connived a brilliant plan. He narrowly worked his way through a pray the gay away program, Banks has seduced Geisss probably mentally challenged daughter, and is preparing to marry into the Geiss family. Its a smart move, and one that keeps Donaghy on his toes throughout the season. Banks and Donaghy trade jabs and blows back and forth throughout the season, and although its clear that Geiss favors Donaghy as his replacement, tragedy inevitably strikes. CHAPTER OUTLINE Quicklet on 30 Rock Season 2 + Troubles Brewing: A Sophomore Slump? + Tina Fey: A Life in Comedy + Main Characters + Key Terms + ...and much more 30 Rock Season 2
In the analysis of the debates in Germany over Jews, Judaism and Jewish emancipation in the late 18th and 19th centuries, Jonathan M. Hess reconstructs a crucial chapter in the history of secular anti-Semitism. He examines not only the thinking of German intellectuals of the time but also that of Jewish writers, revealing the connections between anti-Semitism and visions of modernity, and the Jewish responses to the treat posed by these connections.
The Washington Post Notable Non-Fiction of 2013 On the seventy-fifth anniversary of Kristallnacht comes this untold story of a teenager whose act of defiance would have dire international consequences. On the morning of November 7, 1938, a seventeen-year-old Jewish refugee, Herschel Grynszpan, walked into the German embassy in Paris and in an act of desperation assassinated Ernst vom Rath, a low-level Nazi diplomat. He did it, he said, out “of love for my parents and for my people.” Two days later, vom Rath lay dead, and the Third Reich exploited his murder to inaugurate its long-planned campaign of terror against Germany’s Jewish citizens, in the mass pogrom that became known as Kristallnacht. In a bizarre concatenation of events that would rapidly involve Ribbentrop, Goebbels, and Hitler himself, Grynszpan would become the centerpiece of a Nazi propaganda campaign that would later describe his actions as "the first shot of the Jewish War." In The Short, Strange Life of Herschel Grynszpan, best-selling author Jonathan Kirsch brings to light this wrenching story, reexamining the historical details and moral dimensions of one of the most enigmatic cases of World War II. Was Grynszpan a crazed lone gunman, or was he an agent of the Gestapo, recruited to provide a convenient pretext for a major escalation of Nazi aggression? Was he motivated by a desire to strike a blow for the Jewish people as an early partisan fighter, or did his act of violence speak to an intimate connection between the assassin and his target, as Grynszpan later claimed? In re-creating the life of this German-Polish refugee turned assassin, Kirsch convincingly demonstrates that the life of Herschel Grynszpan remains just as fascinating as the conspiracy theories that surround him. Challenging the perception of the European Jew as docile and unwilling to resort to violence in the face of aggression, Grynszpan was almost unanimously assailed by most German Jews, who were rightly fearful that the Nazis would use the murder to wreak widespread retribution. Yet he was at the same time embraced by the American journalist Dorothy Thompson, who rallied others to his international defense. Condemned by the likes of Goebbels at the time, he was still labeled as a "psychopath" and an agent provacateur by Hannah Arendt at the Eichmann trial two decades later. As Kristallnacht increasingly becomes known as an international day for remembrance, Jonathan Kirsch brilliantly succeeds here in illuminating both a single life cast into the shadows of history as well as the "countless tragic lives of Eastern European Jews in the terrible days leading up to World War II.
This book argues that properly understood, irony plays a crucial role in therapeutic action. It is written as an invitation to clinicians to renew their own engagement with the fundamental concepts of their practice. It investigates the concepts of subjectivity and objectivity that are appropriate for psychoanalysts, the concept of internalisation and of transference. It will be of interest to anyone concerned with the central concepts of psychoanalysis.
Told with consummate skill by the writer of the bestselling, award-winning A Civil Action, The Lost Painting is a remarkable synthesis of history and detective story. An Italian village on a hilltop near the Adriatic coast, a decaying palazzo facing the sea, and in the basement, cobwebbed and dusty, lit by a single bulb, an archive unknown to scholars. Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries. The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances. Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others–no one knows the precise number–have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy. Prizewinning author Jonathan Harr embarks on an spellbinding journey to discover the long-lost painting known as The Taking of Christ–its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle. Praise for The Lost Painting “Jonathan Harr has gone to the trouble of writing what will probably be a bestseller . . . rich and wonderful. . . . In truth, the book reads better than a thriller. . . . If you're a sucker for Rome, and for dusk . . . [you'll] enjoy Harr's more clearly reported details about life in the city.”—The New York Times Book Review “Jonathan Harr has taken the story of the lost painting, and woven from it a deeply moving narrative about history, art and taste—and about the greed, envy, covetousness and professional jealousy of people who fall prey to obsession. It is as perfect a work of narrative nonfiction as you could ever hope to read.”—The Economist
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