Critically examines the history of rock and roll movies, from ABBA, to Zachariah--which feature rock musicians or portray aspects of the rock music world

What is wit made out of in the comedies of Shakespeare, Jonson, Shirley and their contemporaries? What does it hide? What does it reveal? This book addresses these questions by turning to the relationship between comic form and local history. Explorations of familiar sites, including Windsor Forest, Smithfield, Covent Garden and Hyde Park, are matched with close readings of drama that focus on overlays between theatrical, spatial, narrative and social conventions. Dramatic comedy's definitive interest in cultural competency and incompetence, and wit and witlessness, is revealed through discussions of commerce, gambling, royal forests and new or newly public spaces in and around early modern London. Along with Shakespeare's The Merry Wives of Windsor and Ben Jonson's Epicene and Bartholomew Fair, special emphasis is placed on the neglected town comedies of the 1630s - the forerunners of the Restoration comedy of manners and satirical realism of our own day.

Unlike the literary traditions of the United States, England, and France, the first century of Hebrew literature was lacking in women novelists; women tended to write poetry, while prose fiction was mainly the domain of male writers. Since the 1980s, however, there has been a virtual explosion of commercially successful Hebrew fiction by women that includes many traditionally male genres, such as the historical novel, fictional autobiography, and the mystery novel. No Room of Their Own is a comparative analysis of recent Israeli fiction by women and some of its Western models, from Virginia Woolf and Simone de Beauvoir to Marilyn French and Marie Cardinal. Feldman shows the richness and subtleties of Israeli women's fiction as she explores the themes of gender and nation, as well as the (non)representation of the "New Hebrew Woman" in five authors -- the "foremothers" of the contemporary boom in Israeli Women's fiction: Amalia Kahana-Carmon ( Up on Montifer, With Her on Her Way Home), Shulamith Hareven ( City of Many Days, Thirst, The Vocabulary of Peace), Netiva BenYehuda ( The Palmach Trilogy), Ruth Almog ( Women, The Story of a [Writer's] Block, Roots of Air), and Shulamit Lapid ( Gei Oni).

Available in English for the first time, this is a collection of Adorno's essays on such writers as Mann, Bloch, Holderlin, Kare Kraust, Sigfried Kracauer, Goethe, Benjamin and Stefan George. Also included are Adorno's reflections on a variety of subjects: literary titles, the physical qualities of books, political commitment in literature, the light-hearted and the serious in art, and the use of foreign words in writing, to name a few.

"In the fall of 1959, Harper's Magazine published a special supplement on the state of writing and the American literary scene. The supplement was greeted with a broadside of commendation and a fusillade of cavil, and has since become recognized as the most useful brief survey of the contemporary state of the American writing arts and of their fellow travelers, the spoken word, the typescript word, the filmed and televised word, and the publishing memorandum. In this newly reissued volume in the Rutgers University Press Classics Imprint, Writing in America proves to be as stimulating as it was in 1960. Here, writers including Robert Brustein, Stanley Kunitz, and C.P. Snow examine the state of writing in American novels, films, and television candidly and critically. The result is a collection of essays that showcase a first-rate and highly entertaining piece of reporting on the American literary scene that resonate in 2017"--

"In 1966, at the ripe age of 22, Richard Goldstein approached The Village Voice with a novel idea. "I want to be a rock critic," he said. "What's that?" the editor replied. It was a logical question, since rock criticism didn't yet exist. In the weekly column he would produce for the Voice, Goldstein became the first person to write regularly in a major publication about the music that changed our lives. He believed deeply in the power of rock, and, long before it was acceptable, he championed the idea that this music was a serious art form. From his unique position in journalism, he saw the full arc of events that shaped culture and politics in the 1960s--and participated in them, too. He toured with Janis Joplin, spent a day at the Grateful Dead house in San Francisco, and dropped acid with Brian Wilson and the Beach Boys. He was present for Martin Luther King's "I Have a Dream" speech, the student uprising at Columbia, and the riots at the 1968 Democratic Convention. He was challenged to a boxing match by Norman Mailer, and took Susan Sontag to her first disco. Goldstein developed close relationships with several rock legends--Janis Joplin and Jim Morrison, to name two--and their early deaths came as a wrenching shock, fueling his disillusionment as he watched the music he loved rapidly evolve from a communal rite to a vast industry--and the sense of hope for radical social upheaval fade away. Another Little Piece of My Heart is the intimate memoir of the writer as a young man with profound ambition. It is also a sweeping personal account of a decade that no one else could provide--a deeply moving, unparalleled document of rock and revolution in America"--

This collection of essays probes the values in a variety of authors who have had in common the fact of popularity and erstwhile reputation. Why were they esteemed? Who esteemed them? And what has become of their reputations, to readers, to the critic himself? No writer here has been asked to justify the work of his subject, and reports and conclusions about this wide variety of creative writers vary, sometimes emphasizing what the critic believes to be enduring qualities in the subject, in several cases finding limitations in what that writer has to offer us today.

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This edited anthology brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan.

"Reconstructing the Talmud [...] introduces the modern Talmud student to the techniques developed over the last century for uncovering how this literature developed. Opening with an extended introduction outlining the methods employed by scholars to engage in such analysis, Reconstructing the Talmud proceeds with nine examples concretely demonstrating how such methods are applied to actual passages from the Bavli. Sorting out the layers of the Bavli, understanding each layer within its cultural and historical context, and comparing it with earlier sources, reveals a dynamic world of change, debate, halakhic diversity and development far richer and more nuanced than that which is evident in the static and fixed text of the printed edition. Reconstructing the Talmud introduces the reader to the world of academic Talmudic research and opens new venues of exploration and understanding of one of the world's great literary treasures"--

The Horizontal Society is an exposition of rabbinic thought as exemplified by Maimonides. The thought streams of Greece, Rome, and Christendom serve as a contrast. This work is in the Hebrew rhetorical tradition of melisa. The main text in five sections--The God of Israel, The Books of Israel, The Governance of Israel, The Memory of Israel, and The Folly of Israel-focuses on these core matters. It includes numerous references to orient the reader. The mode is similar to the author's previous work, such as Golden Doves with Silver Dots: Semiotics and Textuality in Rabbinic Tradition , interacting with the latest thought from today's academy. This book illustrates the horizontal organization of the Jewish people. Other social organization is based on hierarchy. Two principles made this difference possible for Israel. First, the Hebrew Scriptures alone propose that every human being is created in the image of God. This necessitates the absolute equality of every human being. Second, the Sinai covenant establishes the Law as the supreme authority. Whereas in other societies, might is the source of authority, in Judaism authority is limited by the Law. These principles were summarized by the last Prophet of Israel: "Has not one God created us? Why do we deal treacherously..., profaning the covenant of our fathers?" (Mal 2:10). There is a subdivided bibliography of forty pages, including both Jewish and "Western" sources. The scholarly apparatus includes indices of terms, names, and subjects. There are also seventy appendices of interest to rabbinic readership.