During the formative age of Judaism, the first seven centuries CE, the great rabbis thought deeply about beginnings in light of endings. They imposed upon their sequential reading of each passage the accumulated results of their reflection about all passages. Thus, they encompassed Scripture, so as to describe the world as God had intended it to be.This act of intellect resulted in two distinct, ahistorical media of thought and expression, the Halakhah, law, and Aggadah, lore. The author provides three systematic accounts of the Halakhic reading, and two Aggadic accounts. The Halakhic accounts cover [1] Work and Rest, [2] Ownership and Possession, Eden and the Land, and [3] Ownership and Possession in the Household. The Aggadic accounts pertain to [1] the Six Days of Creation, and [2] Adam and Eve.

For almost twenty years, Ilan Stavans—described by the Washington Post as "Latin America’s liveliest and boldest critic and most innovative cultural enthusiast"—has interviewed path-breaking intellectuals and artists in a wide range of media. As host of the critically acclaimed PBS series La Plaza, he interviews guests on pressing issues that affect the Western Hemisphere today, asking hard-hitting questions on immigration, religion, bilingualism, race, and democracy. This book collects for the first time in one volume Stavans’s most provocative and enlightening interviews with Hispanics from both sides of the Rio Grande. Spontaneous and surprising, these conversations reflect Latino life in the United States in all its facets. Among the more than two dozen selections, Edward James Olmos talks about Hispanics in Hollywood; John Leguizamo describes how he shapes a stage show; author Richard Rodriguez reflects on his gang background; Esmeralda Santiago takes on the Puerto Rican stereotype; and Piri Thomas shares thoughts on the writing of Down These Mean Streets. "A conversation is a tango," writes Stavans, "for it takes two to dance it." Conversations with Ilan Stavans invites readers to catch the rhythm and enjoy these unique meetings of minds.

Harold Fisch explores the biblical influence on the style and the structure of landmark novels by Fielding, Defoe, Gearge Eliot, Kafka, Dostoevsky and others. These turn out, again and again, to be re-readings of biblical stories. This echoing is sometimes explicit as in Joseph Andrews , where Fielding offers us a comic revision of the career of the biblical Joseph. But it can be inexplicit and even unconscious as in Kafka's The Trial , which, without mentioning Job, reads (as Northop Frye has noted) like a midrashic commentary on that book. In a study remarkable for its range and subtlety, the author develops the notion of the novel as midrash but argues that while the great novelists were held in thrall by the biblical patterns and stories, they were also regularly compelled to throw off this thraldom. They could not manage without the Bible but at the same time "it would not do." Fisch discusses the adversial realation to the biblical text with reference to two archetypal narratives: the Job story and the Dinding of Isaac. Of particluar interest are the chapters devoted to the Israeli novelist S.Y. Agnon and A.B. Yehoshua.

Small underlinings or marks on the side, see photo.

"The Elsewhere." Or, midbar-biblical Hebrew for both "wilderness" and "speech." A place of possession and dispossession, loss and nostalgia. But also a place that speaks. Ingeniously using a Talmudic interpretive formula about the disposition of boundaries, Newton explores narratives of "place, flight, border, and beyond." The writers of The Elsewhere are a disparate company of twentieth-century memoirists and fabulists from the Levant (Palestine/Israel, Egypt) and East Central Europe. Together, their texts-cunningly paired so as to speak to one another in mutually revelatory ways-narrate the paradox of the "near distance."

Two central themes run through this new collection of authoritative and undogmatic essays: the Jewish experience and that of the work of art as a toy to be used for dreaming and playing rather than as a window to the world. The collection includes three essays on the Bible, as well as pieces devoted to Twelfth Night, Rembrandt's self-portraits, Tristram Shandy, Kafka's stories and aphorisms, Borges, Kierkegaard, and painter Andrez Jackowski. The title essay examines the relationship of the artists' works and their ideas, and the book concludes with personal meditations on memory, the Holocaust, Jewishness, and being a writer-teacher.

Originally published in 1957, this volume brings together a collection of essays and hard to source translations on both well and lesser known German writers and poets, including Hölderlin, Benn, Mann and Nietzsche. The essays are linked by a consideration of the tension between the desire for what Thomas Mann called 'the miracle of ingeniousness regained' and the constrains of reason. The book shows how this tension contributes toward the prophetic nature of so much 18th and 19th Century German literature and its modernity, which qualities are also placed in the context of German political and social conditions. All prose quotations are given in English translation, and the majority of verse quotations in both German and English.

From the ancient Book of the Dead to Dante's Divine Comedy , the living have attempted to describe the world of the dead. Tours of Hell focuses on one form of that attempt: the tours of hell found in Jewish and Christian apocalypses of late antiquity and the early Middle Ages. Himmelfarb examines seventeen texts, preserved in five languages and spanning a thousand years of human history. These include Hebrew texts and Christian texts in Greek, Latin, Ethiopic, and Coptic, such as the Apocalypse of Peter and the Apocalypse of Paul family. Muslim texts, medieval visions, and other related literatures are also discussed. Himmelfarb details the common elements of the tour tradition, including such features as a hero or heroine figure, a heavenly revealer, and descriptions of the punishments awaiting those who arrive in hell. She convincingly refutes the accepted nineteenth-century critical view of the earliest of these tours, the Apocalypse of Peter, as a Christian form of an "Orphic-Pythagorean" descent to Hades. She place the work instead on the family tree of the tour apocalypse, a genre she traces back to the third century B.C.E. Book of the Watchers (1 Enoch 1-36). Linking the Apocalypse of Peter with later Jewish tours of hell, Himmelfarb reveals significant sin-and-punishment combinations that seem to point to a common source, which she theorizes to be a lost Jewish Tour work of the late Second Temple period. Rich and fascinating texts seldom before brought to light are treated in detail in this pioneering study. A comprehensive work on the apocalyptic tradition, Tours of Hell will be of great interest to scholars and students of religion, history, ancient and medieval literature, and Dante studies.

“We got to talking”—so David Antin begins the introduction to Radical Coherency , embarking on the pursuit that has marked much of his breathless, brilliantly conversational work. For the past forty years, whether spoken under the guise of performance artist or poet, cultural explorer or literary critic, Antin’s innovative observations have helped us to better understand everything from Pop to Postmodernism. Intimately wedded to the worlds of conceptual art and poetics, Radical Coherency collects Antin’s influential critical essays and spontaneous, performed lectures (or “talk pieces”) for the very first time, capturing one of the most distinctive perspectives in contemporary literature. The essays presented here range from the first serious assessment of Andy Warhol published in a major art journal, as well as Antin’s provocative take on Clement Greenberg’s theory of Modernism, to frontline interventions in present debates on poetics and fugitive pieces from the ’60s and ’70s that still sparkle today—and represent a gold mine for art historians of the period. From John Cage to Allan Kaprow, Mark Rothko to Ludwig Wittgenstein, Antin takes the reader on an idiosyncratic, personal journey through twentieth-century culture with his trademark antiformalist panache—one thatwill be welcomed by any fan of this consummate trailblazer.

A collection of essays, all published previously. The following deal with antisemitism:

A collection of essays, all published previously. The following deal with antisemitism:

Book by Judah Goldin

For centuries, the author argues, Christian theology has preached the Cross and denied the tragic reality of the human condition. At the same time the secular world has denied the Cross and absorbed endless acts of violence and disaster. This book is not concerned with the horrors of war and reality of conflict, but with their constant pressure upon Western culture. Starting with the Biblical tradition and recalling the triumphs of the Athenian stage, the author traces the vitality of both through the development of the theatre and of European literature. This survey ends in the 20th century and draws conclusions which are critical of cheap religiosity. It proposes an acceptable synthesis of Christian existence and tragic involvement.

A revisionist interpretation of Anglo-Saxon England. Nicholas Howe proposes that the Anglo-Saxons fashioned a myth out of the 5th-century migration of their Germanic ancestors to Britain. Through the retelling of this story, the Anglo-Saxons ordered their complex history and identified their destiny as a people. Howe traces the migration myth throughout the literature of the Anglo-Saxon period, in poems, sermons, letters and histories from the sixth to the eleventh centuries.

History provides one way of marking time. But there are others, and the Judaism of the dual Torah, set forth in the Rabbinic literature from the Mishnah through the Talmud of Babylonia, ca. 200-600 C.E., defines one such alternative. This book tells the story of how a historical way of thinking about past, present, and future, time and eternity, the here and now in relationship to the ages, « that is, Scripture's way of thinking » gave way to another mode of thought altogether. This other model Neusner calls a paradigm, because a pattern imposed meaning and order on things that happened. Paradigmatic modes of thought took the place of historical ones. Thinking through paradigms, with a conception of time that elides past and present and removes all barriers between them, in fact governs the reception of Scripture in Judaism until nearly our own time. Neusner here explains through the single case of Rabbinic Judaism, precisely how that other way of reading Scripture did its work, and why, for so many centuries, that reading of the heritage of ancient Israel governed. At stake are [1] a conception of time different from the historical one and [2] premises on how to take the measure of time that form a legitimate alternative to those that define the foundations of the historical way of measuring time. Fully exposed, those alternative premises may prove as logical and compelling as the historical ones. The approach follows the documentary history of ideas, and individual chapters describe the treatment of historical topics in the Mishnah, the Talmud of the Land of Israel (a.k.a., the Yerushalmi), Genesis Rabbah, that is, ca. 200, 400, and 450 CE, and Pesiqta deRab Kahana, ca. 500 CE.

While the rabbinic literature is often seen as a collection of miscellaneous responses to questions arising from study of the Hebrew Bible and its application to contemporary life, Neusner sees a system behind and embodied in the various writings. He discusses the ways in which the divine thought, and the human thinking that sought faithfully to interpret it, actually came to expression and treats what he calls the grammar of the divine self-expression in order to help us see the theological structure that it implies. Then he shows how this implicit system is expressed in the rules for the life of the people that God has chosen as his own. --from publisher description.

Fascinated by the idea of Western civilization as being a sequence of numerous misinterpretations and misrepresentations, these nineteen essays cover a broad range of topics with the unifying theme being the crossroads where politics and the imagination meet. An essay on linguistics and culture discusses the shaping of Latin America's collective identity; Peru's modern history is approached as a bloody battle between enlightenment and darkness; and in critiques of Octavio Paz and Gabriel García Márquez, Stavans reflects on the dichotomy between pen and sword in the Hispanic world. In 'Letter to a German Friend', Stavans returns to his fate as a Jew in the Southern Hemisphere, and in 'The First Book,' he connects his passion for literature to his initiation into Jewishness. Finally, in a meditation on Columbus's afterlife, he reflects on the many ways in which we reinvent ourselves in order to make sense of the chaotic world that surrounds us.