Elana Sztokman arrived in Israel in 1993 as a young religious mother wearing a long skirt and a hat covering her hair. Today, nearly 30 years later, after spending years fighting for women's rights in Orthodoxy, writing books about gender in religion, and eventually leaving that world behind, she confronts the personal struggles behind the public persona, revealing the traumas from her past that affected her entire relationship with her body. From two-time winner of the National Jewish Book Council Award comes a refreshing and very personal exploration of cultures of the female body in Jewish life. This collection of essays - marking the 25-year anniversary of her feminist awakening and spanning a diverse career of research, writing, and advocacy around Jewish women's experiences - offers political and personal insights and retrospectives on some of the most burning issues today. Topics include: sexuality, relationships, body-image, body-cover, ritual immersion, fat-shaming, slut-shaming, domestic violence, and sexual abuse. Elana brings her characteristic honesty, courage, wit, and profound insight into her writing, and shares some of her own traumas that set her on a sometimes tortuous life path.

Originally published in 1959, the basis of this book was a course of lectures given at Cambridge University entitled Three Traditions of Moral Thought: Platonic-Christian; Utilitarian; Humanist. Designed chiefly for students of literature, and maintaining the accessible structure of the original lectures, it was intended to provide an introduction to English moral thought and the problems of moral philosophy. Whilst this approach necessarily involved an avoidance of a 'pure' philosophical method, it was enriched by fresh perspectives derived from literary criticism and a direct, non-technical style. This is an informative volume that will be of value to anyone with an interest in moral philosophy, literary criticism, and the relationship between the two.

An exhaustive index in Yiddish and English to Yiddish-language periodicals and collective volumes of linguistic interest which were published in Europe and the US between 1913 and 1958. Annotation copyright Book News, Inc. Portland, Or.

The Black experience in motion pictures.

Content's Essays, 1975-1984 is the celebrated introduction to language poetry by one of its leading practitioners, Charles Bernstein. First published in 1986, and now a classic study of the poetry and poetics of late-twentieth-century America, this collection of essays conducts us with wit, intelligence, and consummate style through the elaborate relations between language and culture. Bernstein considers verbal, pictorial, and filmic language to understand why writing is never the unmediated expression of personal feeling but always charged with latent meaning.Addressing a wide range of arts, Bernstein's essays move gracefully from discussions of Mad Max, Stan Brakhage, and Arakawa, to William Carlos Williams, Louis Zukovsky and Jackson Mac Low. Rather than propose grand theories, Bernstein synthesizes the many sets of ideas that are necessary for a practical understanding of contemporary culture. Reading a variety of texts and expanding on his own thinking and method, Bernstein provides a brilliant introduction not only to language writing but to all avant-garde literary ambitions of the last two decades of the century.At once irreverent and deeply serious, as indebted to Groucho Marx as it is to Stanley Cavell, Content's Dream stakes out a clear cultural and aesthetic position for one extraordinary poet, for language poetry, and for our time.

Pan Book of Opera (Piper) Jacobs, Arthur and Sadie, Stanley

Essays discuss Marcel Duchamp, the Shroud of Turin, insect mimicry, Russian art, art criticism and theory, and psychoanalysis

It is for his poetry that A.M. Klein is best known and most warmly remembered. This collection includes all Klein's poetry, both original works and translations from Hebrew, Yiddish, Aramaic, and Latin. Many of them, coming from all periods of his careers, have never been published. The poems are arranged chronologically according to date of composition. This makes possible, for the first time, an appreciation of Klein's poetic development. The editor's introduction places this development in the perspective of Klein's life and time, and in particular explores Klein's lifelong struggle to reconcile his dual vocations as both a Jewish and a modernist writer. The textual apparatus identifies all authoritative versions for each poem and lists all emendations and all substative variants in both published and mauscript versions. The explanatory notes gloss obscure terms and references. They also provide a rich context for appreciation and interpretation by drawing connections with Klein's life, his wide reading, and his work as a whole. Wherever possible, Klein's own numerous, but scattered, comments on his poems have been cited.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Offers both a subjective history of our times and a true poet's journal. Spender has preserved his memories of people and events, drafts of poems, plays and stories, vivid travel notes from all over the world, insights into painting and music, and the impressions of a life devoted to literature.

"Frieden draws heavily on works of intellectual history to survey the concepts of daimon and genius in ancient religious and mythological thought. He then outlines the complex transformation in the 18th century that leaves genius midway between a transcendental and a psychological agency. This line age serves to orient four analyses of literary monologue (in Shakespeare, Coleridge, Poe, and Joyce). The issue highlighted by Frieden has come to the forefront through certain writings of Husserl, Heidegger, and Derrida: namely, the determination of the individual subject in terms of the expressive spontaneity of an inner voice. This book has the merit of combining a philosophical and a formalist approach in exploring a topic of high priority in current theoretical discussions." - Library Journal

The description for this book, The Gothic: Literary Sources and Interpretation Through Eight Centuries, will be forthcoming.

Now available in paperback, Mozart is a brilliant study of the great composer's life and creative genius, written by one of the most important social thinkers of our time. In Mozart, Elias provides insight into this case of tragic conflict between personal creativity and the tastes of a society which sought to control it.

fiction

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1902 Excerpt: ...ms. Flor. 218, nicht bei Wet., Hm. und Le, s. HB. IX, 93) bedarf noch der Untersuchung.--2) Er betrachtet die geminata und Verba, deren 1. Bad. = 3. als 2 buchet. V, Derenb. zu n. 1 р. УП, IX.--) Ewald, Beitr. 126/7; s. Isak Gikatilia u. leak b. Saul, unten Anm. 6.--Jona dehnt die Anwendung der arab. Grammatik über den Bedarf der hebr. hinaus, daher ohne Erfolg.--4) Unter Mitwirkung Bach er's, dessen Namen statutenmässig nicht auf dem Titel erscheinen durfte, p. XII.--s) Die Zahlangabe nrtav T'a rührt von Tibbon her (CB. 1417). Derenb. hat den Text, worin er Umarbeitungen vermutet, in 46 K. geteilt, K. 2 = 2, 8 hebr.--) Alphab. Verzeichnis in Bachers Ausg. der Übstz. S. 5f3.--Zur Anführung arab. Gedichte in seinen Schriften s. Schreiner, Mtschr. 1886 S. 270: das grosse Istikak von ibn Djinni.--') Der Zeit nach jünger sind 4, 6; Bacher in W. u. W. II, 173.--8) Ebenso wird hebr. туя in verschied. Sinne gebraucht, auch für Note üherhaupt.--) VA. Bd. 86 S. 86; Os. II, 60, Lc. I, 664 (Suweidi II, 199): „hebr. Jouna"; für Behrnauer lies Neubauer (Notice).--„Werke" bei Bacher, W. u. W. 170, ist unbegründet, desgl.: „sans importance" bei Derenb., Opp. LXXV, wo bemerkt wird, dass Jona diese Schrift nicht citire. Mit Becht weist Der. die Annahme einer Schrift über Logik und gegen die Anfangslosigkeit der Materie als nicht genügend begründet zurück. Quellen: CB. 1416 und HÜb. 917 u. XXXIII; Hauptvertreter sind Lebrecht, Mk., Bacher (Ab. schrieb seine Werke mit hebr. Buchst. ZDMG. 1888 S. 306 und Winter u. W. II, 170), Derenbourg; einen Nachtrag zu Bacher über J.'s Sprachvergleich, v. S. Eppenstein, Rev. Et. XLI, 237. 82. ...

What is meant by "romantic irony"? What is specifically romantic about this kind of irony? How does it relate to--and differ from--ordinary, traditional irony? Is it a variant of traditional irony, or an independent phenomenon? Are its lines of demarcation primarily historical or modal? How does it become manifest in a text? What is its impact on the art of narration? These are the questions that Fictions of Romantic Irony addresses. It makes a new approach to romantic irony by envisaging it in a broad European context in relation both to earlier concepts of irony and to traditional uses of irony in narration. Fictions of Romantic Irony shows how irony was transformed in the hands of Friedrich Schlegel, Hegel and Kierkegaard. Through an analysis of six major European narratives of the mid-eighteenth to the mid-nineteenth century it illustrates the reciprocal interplay of theory and practice, and the complex and central role that irony assumes as a shaping aesthetic factor. Using a wide perspective and an original synchronic disposition of texts within its historical framework, it identifies the distinctive philosophical and literary features of romantic irony. Fictions of Romantic Irony presents an important theory of romantic irony, distinguishing it from traditional irony in the handling of fictional illusion and in the dynamics of the tripartite relationship between narrator, narrative and reader. It dispels many common, limiting fictions about romantic irony, and offers a robust understanding of its workings in narrative and its significance for modern fiction.

In June 2007, Cinematical co-founder Karina Longworth became editor of SpoutBlog. Published by the film fan social network Spout, SpoutBlog was conceived as a daily dispatch from the center of contemporary cinephilia, dedicated to appreciating the under-the-radar and deflating the overexposed. The site soon became a key destination in the film blogosphere, particularly valued as a locus for discussions surrounding the ever-changing face of indie film. The Portable SpoutBlog is a collection of Longworth's most popular and controversial writings, culled from thousands of posts published over two years of daily blogging. It includes writings on films both super-populist (Ghostbusters) and specialized (the works of neo-indie auteurs Andrew Bujalski and Barry Jenkins); conversations with filmmakers emerging (Alejandro Adams) and established (Whit Stillman); dispatches from film events highbrow (Cannes) and low (Comic-Con); and snapshots from the frontlines of contemporary film culture.

Isaac Ilyich Levitan (1860-1900) was one of the most famous Russian painters. He is also known under his Yiddish name Jitzchak Levitan, or Yitzchak Levitan. Levitan's very influential work consists of more than a thousand paintings. With very few exceptions, Levitan painted only non-urban landscapes. An only exception mentioned by Nesterov is the view of the Simonov monastery, like the already mentioned illustrations on the Kremlin. Levitan, gifted with a unique deep feeling for the quiet grandeur and charm of Russian nature, captured the atmosphere of the "lyrical landscape". This term, which was intended to express the partly spiritual effect of nature on the human psyche and was very popular in Russia at the end of the 19th century, became decisive for Levitan's work. In 1889 Sergei Timofeyevich Morozov (1860-1944), who was a famous art collector and patron, provided Levitan with a studio in Moscow, where the artist worked until the end of his life. He spent the summer of 1890 in Yurievets and painted The View of the Krivooserski Monastery, as well as many other paintings. The "lyrical landscape" became the basis for one of his most influential paintings, The Silent Monastery. This painting, which expresses Lewitan's profound reflections on the life of the artist, made a deep impression on Anton Chekhov. In 1897, when he was already world-famous (his work was also exhibited at the Munich Secession), a severe heart condition was diagnosed. In the same year, he was admitted to the Academy of Arts and began to teach. In 1898 he was already the head of the landscape painting faculty at the Academy.With very few exceptions, Levitan painted only non-urban landscapes. An only exception mentioned is the view of the Simonov monastery, like the already mentioned illustrations on the Kremlin. Levitan, gifted with a unique deep feeling for the quiet grandeur and charm of Russian nature, captured the atmosphere of the "lyrical landscape". This term, which was intended to express the partly spiritual effect of nature on the human psyche and was very popular in Russia at the end of the 19th century, became decisive for Levitan's work. In 1889 Sergei Timofeyevich Morozov (1860-1944), who was a famous art collector and patron, provided Levitan with a studio in Moscow, where the artist worked until the end of his life. The "lyrical landscape" became the basis for one of his most influential paintings, The Silent Monastery. This painting, which expresses Lewitan's profound reflections on the life of the artist, made a deep impression on Anton Chekhov. In 1897, when he was already world-famous (his work was also exhibited at the Munich Secession), a severe heart condition was diagnosed. In the same year, he was admitted to the Academy of Arts and began to teach. In 1898 he was already the head of the landscape painting faculty at the Academy.