"Contemporary arguments about Jewish law uniquely reflect both the story of Jewish modernity and a crucial premise of modern conceptions of law generally: the claim of autonomy for the intellectual subject and practical sphere of the law. [This book] collects representative modern Jewish writings on law and provides short commentaries and annotations on these writings that situate them within Jewish thought and history, as well as within modern legal theory. The topics addressed by these documents include Jewish legal theory from the modern nation-state to its adumbration in the forms of Orthodox, Conservative, and Reform Judaism in the German-Jewish context; the development of Jewish legal philosophy in Eastern Europe beginning in the eighteenth century; ultra-Orthodox views of Jewish law premised on the rejection of the modern nation-state; the role of Jewish law in Israel; and contemporary feminist legal theory."--

Bad Shoes & the Women Who Love Them is a lighthearted wake-up call to women to make informed decisions when buying and wearing fashionable shoes. Arming the reader with essential facts, citing medical literature as well as leading podiatric surgeons and orthopedists, Tanenbaum covers the history of high heels, Chinese foot binding, the controversy over cosmetic surgery of the foot, and what Freud had to say about women's shoes and sex. Illustrated by artist Vanessa Davis throughout, Bad Shoes & the Women Who Love Them also includes hilarious anecdotes from women who love shoes. And yes—it is possible to make smart footwear decisions without sacrificing style! Tanenbaum shows you how.

Jazz The Impact of Our Cities on the Development of Jazz

A comprehensive and readable introduction to the Judaism of the Second Temple period.

Presents advice and programs for the family planning to adapt itself to a nonsexist society, with a special emphasis on intrafamily support and role-free child rearing

Text: English, Russian (translation)

Fascinated by the myth of the Russian avant-garde and scornful of official art, the West has been selective in its engagement with Russian visual culture. Yet how do contemporary Russian scholars and critics themselves approach the history of visual culture in the former Soviet Union? Taking its title from a Russian word that can refer to the 'texture" of life, painting, or writing, this anthology assembles thirteen key essays in art history and cultural theory by Russian-language writers. The essays erase boundaries between high and low, official and dissident, avant-garde and socialist realism, art and everyday life. Everything visual is deemed worthy of analysis, whether painting or propaganda banners, architecture or candy wrappers, mass celebrations or urban refuse. Most of the essays appear here in English for the first time. The editors have selected works of the past twenty years by philosophers, literary critics, film scholars, and art historians. Also included are influential earlier essays by Mikhail Bakhtin, V. N. Voloshinov, and Sergei Eisenstein. Compiled for general readers and specialists alike, Tekstura is a valuable resource for anyone interested in Russian and Soviet cultural history or in new theoretical approaches to the visual.

In Journeys & Arrivals prize-winning author Lev Raphael explores for the first time in non-fiction the gay and Jewish identities that have dominated his highly acclaimed fiction for many years. Journeys & Arrivals reveals in a collection of autobiographical and critical essays the influence these often conflicting identities of being gay and Jewish have had in his life and his writing.

Tome VII des œuvres telles que Chestov les avait lui-même ordonnées, Le Pouvoir des clés, publié juste après les horreurs de la première guerre mondiale, marque un tournant dans son œuvre, désormais plus ouvertement orientée vers le questionnement de la foi. Le « pouvoir des clés », pour Chestov, c’est ce droit que s’arroge chaque homme, qu’il soit catholique ou athée, d’ouvrir pour lui-même et pour ses proches les clés du royaume des cieux, de croire que, s’il fait le bien, il obtiendra le paradis. Or, pour Chestov, l’homme doit renoncer à l’idée que ce pouvoir est entre ses mains, la vérité ne commence qu’au moment où la raison perd pied. On la trouve chez ces hommes (de Plotin à Nietzsche, de Shakespeare à Dostoïevski) qui, à un moment de leur vie, ont perdu toutes les clés et ont connu une expérience qui est de l’ordre de la révélation. Comme tous les livres de Chestov, et comme les grands livres de Nietzsche, Le Pouvoir des clés est construit sans esprit de système, en courts chapitres qui sont autant de petits essais, brillamment écrits, sans jargon philosophique. Il contient en outre le premier article de Chestov sur Husserl, écrit dès 1916. Husserl, avec son projet d’établir définitivement « la philosophie comme science rigoureuse », est pour Chestov l’adversaire absolu ― mais les deux philosophes s’estiment et se rencontrent à plusieurs reprises. « Memento mori » contribua, lors de la parution de sa traduction en 1925, à l’introduction de la phénoménologie en France.

In this richly nuanced assessment of the various dimensions of mutuality in psychoanalysis, Aron shows that the relational approach to psychoanalysis is a powerful guide to issues of technique and therapeutic strategy. From his reappraisal of the concepts of interaction and enactment, to his examination of the issue of analyst self-disclosure, to his concluding remarks on the relational import of the analyst's ethics and values, Aron squarely accepts the clinical responsibilities attendant to a postmodern critique of psychoanalytic foundations.

This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.

The automobile and Soviet communism made an odd couple. The quintessential symbol of American economic might and consumerism never achieved iconic status as an engine of Communist progress, in part because it posed an awkward challenge to some basic assumptions of Soviet ideology and practice. In this rich and often witty book, Lewis H. Siegelbaum recounts the life of the Soviet automobile and in the process gives us a fresh perspective on the history and fate of the USSR itself. Based on sources ranging from official state archives to cartoons, car-enthusiast magazines, and popular films, Cars for Comrades takes us from the construction of the huge "Soviet Detroits," emblems of the utopian phase of Soviet planning, to present-day Togliatti, where the fate of Russia's last auto plant hangs in the balance. The large role played by American businessmen and engineers in the checkered history of Soviet automobile manufacture is one of the book's surprises, and the author points up the ironic parallels between the Soviet story and the decline of the American Detroit. In the interwar years, automobile clubs, car magazines, and the popularity of rally races were signs of a nascent Soviet car culture, its growth slowed by the policies of the Stalinist state and by Russia's intractable "roadlessness." In the postwar years cars appeared with greater frequency in songs, movies, novels, and in propaganda that promised to do better than car-crazy America. Ultimately, Siegelbaum shows, the automobile epitomized and exacerbated the contradictions between what Soviet communism encouraged and what it provided. To need a car was a mark of support for industrial goals; to want a car for its own sake was something else entirely. Because Soviet cars were both hard to get and chronically unreliable, and such items as gasoline and spare parts so scarce, owning and maintaining them enmeshed citizens in networks of private, semi-illegal, and ideologically heterodox practices that the state was helpless to combat. Deeply researched and engagingly told, this masterful and entertaining biography of the Soviet automobile provides a new perspective on one of the twentieth century's most iconic--and important--technologies and a novel approach to understanding the history of the Soviet Union itself.

The intellectual history of the last quarter of this century has been marked by the growing influence of Africana thought--an area of philosophy that focuses on issues raised by the struggle over ideas in African cultures and their hybrid forms in Europe, the Americas, and the Caribbean. "Existentia Africana" is an engaging and highly readable introduction to the field of Africana philosophy and will help to define this rapidly growing field. Lewis R. Gordon clearly explains Africana existential thought to a general audience, covering a wide range of both classic and contemporary thinkers--from Douglass and DuBois to Fanon, Davis and Zack.