This book offers a new mythic perspective on the secret of the allure and survival of a current-archaic institution—the Western theatre—in an era of diverse technological media. Central to the theory is the spectaculum—a stage “world” that mirrors a monotheistic cosmic order. Tova Gamliel here not only alerts the reader to the possibility of the spectaculum’s existence, but also illuminates its various structural dimensions: the cosmological, ritual, and sociological. Its cosmo-logical meaning is a Judeo-Christian monotheistic consciousness of non-randomness, an exemplary order of the world that the senses perceive. The ritual meaning denotes the centrality of the spectaculum, as the theatre repeatedly reenacts the mythical and paradigmatic event of Biblical revelation. Its social meaning concerns any charismatic social theory that is anchored in the epitomic structure of social sovereignty—stage and audience—that the Western theatre advances in an era characterized by hypermedia.
This book offers a new mythic perspective on the secret of the allure and survival of a current-archaic institution—the Western theatre—in an era of diverse technological media. Central to the theory is the spectaculum—a stage “world” that mirrors a monotheistic cosmic order. Tova Gamliel here not only alerts the reader to the possibility of the spectaculum’s existence, but also illuminates its various structural dimensions: the cosmological, ritual, and sociological. Its cosmo-logical meaning is a Judeo-Christian monotheistic consciousness of non-randomness, an exemplary order of the world that the senses perceive. The ritual meaning denotes the centrality of the spectaculum, as the theatre repeatedly reenacts the mythical and paradigmatic event of Biblical revelation. Its social meaning concerns any charismatic social theory that is anchored in the epitomic structure of social sovereignty—stage and audience—that the Western theatre advances in an era characterized by hypermedia.
Is there anyone who does not imagine the moment of their death? Who is unaware of their steady march to the endline? By suppressing and denying death, Westerners overlook the positive side of death anxiety. This ethnography fills this lacuna by describing a colorful and rich “death culture” among survivors of Holocaust and war who endure their last palpitations of life in a Tel Aviv old-age home. Unable to suppress the consciousness of end-of-life, the protagonists climb a “staircase to heaven” among different fields of existence. Resourcefully they transform their anxiety and suffering into paths of choice—comforting each other, filling their days with acts of respect and unity, and replacing all-consuming individualism with social existentialism and Judeo-Christian religious ideas. This book holds us up to an existential mirror that bridges old and young, a geriatric institution and a concentration camp, and natural death and tragic death induced by terrorism.
Her interdisciplinary perspective and her focus on a uniquely female immigrant cultural practice will make this study fascinating reading for scholars of anthropology, gender, folklore, psychology, performance, philosophy, and sociology.
Tzippy Goldman was born for marriage. She and her mother had always assumed she’d graduate high school, be set up with the right boy, and have a beautiful wedding with white lace and pareve vanilla cream frosting. But at twenty-two, Tzippy’s fast approaching spinsterhood. She dreams of escape; instead, she leaves for a year in Jerusalem.There she meets–re-meets–Baruch, the son of her mother’s college roommate. When Tzippy last saw him, his name was Bryan and he wore a Yankees-logo yarmulke. Now he has adopted the black hat of the ultra-orthodox, the tradition in which Tzippy was raised. Twelve weeks later, they’re engaged...and discovering that desire and tradition, devotion and individuality aren’t the easiest balance. Hilarious, compassionate, and tremendously insightful, The Outside World illuminates an insular community, marvelously depicting that complicated blend of faith, love, and family otherwise known as life in a modern world.
Is there anyone who does not imagine the moment of their death? Who is unaware of their steady march to the endline? By suppressing and denying death, Westerners overlook the positive side of death anxiety. This ethnography fills this lacuna by describing a colorful and rich “death culture” among survivors of Holocaust and war who endure their last palpitations of life in a Tel Aviv old-age home. Unable to suppress the consciousness of end-of-life, the protagonists climb a “staircase to heaven” among different fields of existence. Resourcefully they transform their anxiety and suffering into paths of choice—comforting each other, filling their days with acts of respect and unity, and replacing all-consuming individualism with social existentialism and Judeo-Christian religious ideas. This book holds us up to an existential mirror that bridges old and young, a geriatric institution and a concentration camp, and natural death and tragic death induced by terrorism.
Her interdisciplinary perspective and her focus on a uniquely female immigrant cultural practice will make this study fascinating reading for scholars of anthropology, gender, folklore, psychology, performance, philosophy, and sociology.
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