Comedy / 2m / Simple SetSchool is a brief comic discourse on recycling poster design and the transmission of information.Premiered with Keep Your Pantheon as Two Unrelated Plays by David Mamet at the Atlantic Theater Company NYC in the fall of 2009."A textbook example of the style that made its author famous. Featuring characters identified only as A and B as if they were points on a diagram this merry little sketch moves with the show-off alacrity of a calculus prodigy whizzing through equations at the blackboard." - The New York Times

The authors served as legal counsel for the League for Human Rights of B'nai B'rith to the Deschênes Commission of Inquiry on War Criminals. Describes the work of the commission and the process by which Nazi collaborators entered Canada as immigrant DPs. Presents evidence that the Canadian government knowingly participated in British-U.S. schemes to settle known war criminals in the West, sheltered high-level collaborators (such as Count Jacques de Bernonville, military commandant of Lyon under Klaus Barbie), and made no effort to trace war criminals up to 1980. Examines the legal possibilities for prosecuting or deporting suspected war criminals, attacking the legal arguments presented by the government for inaction. Ch. 10 (pp. 163-186), "Ukrainian-Jewish Relations" discusses the motives of the Ukrainian, Croatian, and Baltic emigre communities in opposing investigation of war criminals. also describes government reaction to the Deschenes report and the attempts to carry out its recommendations.

A childhood friend of humanitarian Stefan Templeton describes Templeton's love for high-stakes adventure, his participation in one of Scandinavia's biggest jewel heists, and eventual transformation into an international humanitarian.

In this important new book a remarkable group of authors - academics, journalists and politicians - offer a radical reappraisal of the future of Left political theory and policy in the context of recent changes in society. Compiled by the Institute for Public Policy Research, the volume includes contributons by Anthony Giddens, Perry Anderson, Gordon Brown, Anne Phillips, Michel Rocart, David Marquand and Will Hutton among others and sets out many new ideas and concepts.

David Myers' book explores a fascinating and untold chapter in modern Jewish intellectual history: the role of the first generation of Jewish scholars at the Hebrew University in Jerusalem in establishing Jewish studies within framework of a jewish national university. committed to rewriting jewsh history according to zionst standarts, these "jerusalem scholars" richly reflect the tensions that attended their dual allegiances, to both zionism and the discipline of history

There was a time not very long ago when "going out" was only for the rich and the reckless. At the turn of the century, "going out" became part of everyday life as vaudeville halls, photograph parlors, penny arcades, nickelodeons, nightclubs, dance halls, world's fair midways, amusement parks, ballparks, and movie palaces opened their doors to the people of the city. The new amusement centers welcomed women, men, and children, native-born and immigrant, rich, poor, and middling. Only African Americans were excluded or segregated in the audience, though they were overrepresented on stage. Going Out chronicles the twentieth-century entertainment revolution that changed forever the ways we live, work, and play. In a matter of decades, a new public world of amusements was created where ethnic, class, and neighborhood differences were subordinated to the common pursuit of a good time. Clerks and bankers, sales girls and society ladies "turkey trotted" to ragtime in nightclubs and dance halls; "shot the chute" and clutched one another in "barrels of love"; visited "Darkest Africa" on the world's fair midways; and sat together in the dark watching pictures move on a screen. In Going Out, we meet the colorful characters who invented show business: Thomas Alva Edison, who was astonished when his phonograph made money playing music (he had designed it to take business dictation); Benjamin Franklin Keith, the circus grifter who opened a dime museum in Boston in the 1880s and within a decade owned the world's largest vaudeville theater circuit; Adolph Zukor and Marcus Loew, the New York furriers who made millions in the early picture-show business; and the dozens of small-time show businessmen who rode the rails with their "shows" in their trunks. And we hear the stories of the early black performers and their struggles to maintain their dignity and livelihood while audiences demanded their public humiliation. Going Out is a history of twentieth-century show business and of the new American public that assembled in the city's wondrous pleasure palaces, parks, and theaters. The book concludes with an account of the fall or relocation of this entertainment world, as central city amusement parks, movie palaces, and ballparks were uprooted and transported to the suburbs in the decades following World War II.

An excellent examination of how the collapse of the Soviet Union and the impact of globalization have brought about changes not only to the territorial configuration sovereignty of states and their boundaries, but also to traditional notions of state, boundaries, sovereignty and social order These essays focus on the key regional and geopolitical characteristics of this global reordering, with an emphasis on Eastern Europe and South Asia. They discuss the territorial reordering which is taking place at the level of the state as boundaries are redemarcated in line with ethno-territoral demands; as borders are transversed by the movement of peoples, information and finance; and as the lines of territorial demarcation are perceived not only in terms of their fixed characteristics but as part of a process through which regional and ethnic identities continue to be formed and reformed. Each section ends with articles which focus on literature on geopolitics and boundaries. This is an invaluable addition to our understanding of contemporary world affairs.

Christian cultures across the centuries have invoked Judaism in order to debate, represent, and contain the dangers presented by the sensual nature of art. By engaging Judaism, both real and imagined, they explored and expanded the perils and possibilities for Christian representation of the material world. The thirteen essays in Judaism and Christian Art reveal that Christian art has always defined itself through the figures of Judaism that it produces. From its beginnings, Christianity confronted a host of questions about visual representation. Should Christians make art, or does attention to the beautiful works of human hands constitute a misplaced emphasis on the things of this world or, worse, a form of idolatry ("Thou shalt make no graven image")? And if art is allowed, upon what styles, motifs, and symbols should it draw? Christian artists, theologians, and philosophers answered these questions and many others by thinking about and representing the relationship of Christianity to Judaism. This volume is the first dedicated to the long history, from the catacombs to colonialism but with special emphasis on the Middle Ages and the Renaissance, of the ways in which Christian art deployed cohorts of "Jews"--more figurative than real--in order to conquer, defend, and explore its own territory.

In Defense of Religious Liberty presents David Novak's argument that the primacy of divine law is the best foundation for a secular, multicultural democracy. He claims that the universal norms of divine law are knowable as natural law, that these norms are the best formulations of the human rights of life, liberty, and the pursuit of happiness, and that their assertion includes an explicit recognition of God as cosmic lawgiver. Furthermore, Novak maintains that the seemingly disparate ideas of divine command, natural law, and human rights can be integrated into one overall political theory" Novak reveals this integration at work in the classical texts of his own Jewish tradition, as well as in the canonical philosophical tradition of the West, from Plato to the Stoics to Grotius to Kant. He also argues that those who reject any legitimate role for religion in discussions of public morality inevitably substitute arbitrary human power for divine command, arbitrary positive law for natural law, and arbitrary governmental entitlements for human rights that exist prior to the establishment of the state. Novak concludes that religious traditions like Judaism, precisely because they incorporate the doctrines of God the cosmic lawgiver, natural law, and human rights, provide the most coherent ontological foundation for democracy in today's world. --from publisher's description.

Natural law is the idea that our basic moral principles apply to every human being, and are accessible to human reason. Most people have assumed that since Judaism seems to consist of a specific historical revelation and a specific tradition, that an idea such as natural law is foreign to it. This book shows that natural law is part of Judaism, and that it is consistent with its specific revelation and tradition. In this book, not only is the history of an idea shown with great accuracy, but the idea of natural law is presented as a way of conveying some of Judaism's meaning for life today.

A funny, daring, bawdy and incredibly honest memoir from the anti-ageist, anti-body shaming, pro-sex advocate and erotic provocateur. Over the course of his 35-year career in show business, David Pevsner has done it all. He’s acted on Broadway, off-Broadway, in independent films and on numerous TV network shows including Grey’s Anatomy , Modern Family and Criminal Minds . As he continues his career in entertainment, Pevsner has also dedicated himself to exploring his deepest sexual fantasies. In his late 30s he became a mature male escort and over the last several years has attracted a large international fan base through his blog of erotic photographs celebrating nudity and sexuality. Damn Shame is David Pevsner’s incredible story and is a passionate and poignant look at one man’s journey from a thin, shy boy ashamed of his body and sexuality to a defiant, fearless everyman exploring his erotic desires, everything from leather and S&M to nude/erotic/hardcore modelling. Along the way, he fights back against society’s demonization of gay sex, body shaming and ageism while pursuing his own very personal definition of success and seeking love, validation and self-esteem. Damn Shame gives a loud and powerful voice to a generation of mature men who have been conditioned to believe from society (and especially younger members of the gay community) that they are sexually irrelevant, old and undesirable. Pevsner’s life story goes in directions that many couldn’t imagine, but the lessons learned through his experiences will resonate with readers of every age.

Work Title: Hohe Schule des Violoncello-Spiels Alternative Title: High School of Cello Playing Composer: Popper, David Opus/Catalogue Number: Op.73 I-Catalogue Number: IDP 11 Movements/Sections: 40 etudes First Publication: 1901-05 – Leipzig: Friedrich Hofmeister Dedication: Alwin Schroeder (1855-1928) Bernhard Schmidt, Edouard Jacobs (1851-1925) Ödön (Edmund) von Mihalovich (Ödön Mihalovich) (1842-1929) Composer Time Period: Romantic Piece Style: Romantic Instrumentation: cello

Op. 73 by David Popper has long been a staple for cellists to master technique and be able to play with fluidity on the instrument. This new edition is made with the Friedrich Hofmeister plates from 1901-1905. This is the original printing as Popper himself would have viewed it.

Pp. 75-87 describe the first Vichy and Nazi anti-Jewish administrative measures in Paris and the establishment of the first institutions which dealt with the "Jewish question". Ch. 8 (pp. 136-147), "Pitchipoi", relates the Nazi and Vichy anti-Jewish policies: introduction of the "Jewish star", the roundup of 16-17 July 1942, the deportation of Jews to camps, as well as antisemitic propaganda in Paris.

As the violence of the Middle East has come to America, many Westerners are stunned and confounded by this new form of mayhem that appears to be a feature of Arab societies. This book explains how Arabs are closed in a circle defined by tribal, religious, and cultural traditions. David Pryce-Jones examines the forces that "drive the Arabs in their dealings with each other and with the West." In the postwar world, he argues, the Arabs reverted to age-old tribal and kinship structures from which they have been unable to escape. In tribal society, loyalty is extended to close kin and other members of the tribe. The successful nation state - the model that Westerners understand - generates broader loyalties, but the tribal world has no institutions that have evolved by common consent for the common good. Those who seek power achieve it by plotting secretly and ruthlessly eliminating their rivals. In the Arab world, violence is systemic.

Treason of the Heart is an account of British people who took up foreign causes. Not mercenaries, then, but ideologues. Almost all were what today we would call radicals or activists, who thought they knew better than whichever bunch of backward or oppressed people it was that they had come to save. Usually they were applying to others what they saw as the benefits of their culture, and so obviously meritorious was their culture that they were prepared to be violent in imposing it. Some genuinely hated their own country, however, and saw themselves promoting abroad the values their own retrograde government was blocking. The book deals with those like Thomas Paine who saw American independence as the surest means to hurt England; the many who hoped to spread the French revolution and then have Napoleon conquer England; historic characters like Lord Byron and Lawrence of Arabia who fought for the causes that brought them glory; finally those who took up Communism or Nazism. Treason of the Heart is nothing less than the tale of intellectuals deluded about the effect of what they are doing and therefore with immediate reference to today's world.