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A full-length critical inquiry into the complex interrelationship between the British poet and the Jews. Despite their religious and geographic differences, the British poet Lord Byron shared certain attitudes about politics, institutionalized religion, and individual identity that made him very popular with Jewish readers. In Byron and the Jews, author Sheila A. Spector investigates why, of all the British Romantic poets, Byron is the most frequently translated into Hebrew and Yiddish and how Jews used translations of Byron's works to help construct a new Jewish identity. Spector begins by examining Byron's interaction with contemporary Jewish writers Isaac D'Israeli and Isaac Nathan and investigates how the writers translated each other. The following three chapters demonstrate how the Byron translations interrelated with intellectual leaders of the three cultural movements that dominated Jewish culture in the nineteenth and twentieth centuries: the Maskilim, the Yiddishists, and the Zionists. Spector's conclusion explores the theoretical inference implicit in this study—that the act of translation inevitably produces an allegorical reading of a text that may be contrary to an author's original intention. A useful appendix contains transcriptions of many of the texts discussed in this volume, as few of these Hebrew and Yiddish translations are readily available elsewhere. Not only are portions of all of the translations represented, but different versions are included so that readers can see for themselves how Byron was adapted for different Jewish interpretive communities. Scholars of Byron, Jewish identity, and those interested in translation and reception studies will appreciate this insightful volume.
In this unusually comprehensive, accessible, scholarly presentation of Jewish theology. Byron Sherwin demonstrates that Jewish theological thinking can be understood as a response to visceral existential issues and argues that human meaning and fulfillment lies in applying the proper Jewish way of thinking and living.
In this highly provocative and informed work, Byron L. Sherwin, one of the leading Jewish ethicists of our time, demonstrates how the wisdom of the past—found in classical texts that form Jewish religious tradition—can forcefully address the moral perplexities of the present. In setting out a contemporary agenda for Jewish ethics, Sherwin debunks common misconceptions about Jewish ethics and distinguishes between the ethics of Judaism and various forms of secular and religious ethics. He shows, for example, how the ethics of Judaism and the ethics of Jews often are at odds, how the Judeo-Christian ethic is an obsolete myth, and how Jewish and G:hristian ethics radically differ both in terms of their theological assumptions and in their applied methodologies. Sherwin delineates a methodology for Jewish ethics, which he applies to a wide variety of issues such as health and healing, euthanasia, reproductive biotechnology, cloning, parent-child relationships, economic justice, repentance or "moral rehabilitation," and the relationship between humans and machines. Drawing on a wide range of biblical, rabbinical, Jewish philosophical and kabbalistic sources, Jewish Ethics for the Twenty-First Century links the biblical term "image of God" to moral freedom, human creativity and the challenge of becoming God's "partner in creation" and a coauthor of the Torah.
Byron’s Religions is the most comprehensive study yet of the poet’s deep, diverse and eclectic attitude to religion. The articles, by several well-known and distinguished scholars, cover many of his poems and plays, taking in Anglicanism, Catholicism, Blasphemy, Calvinism, Gnosticism, Islam, and Zoroastrianism. The tentative conclusion is that Byron was never the atheist which the cliché has him to be, but a man whose profound need for a faith clashed always with an equally profound scepticism.
The classic texts of Jewish ethical literature—works little known to most of us—now available for personal study. This one-of-a-kind book brings Jewish ethical literature from ancient and medieval worlds straight into our twenty-first-century lives.
The story of Cain and Abel narrates the primeval events associated with the beginnings of the world and humanity. But the presence of linguistic and grammatical ambiguities coupled with narrative gaps provided translators and interpreters with a number of points of departure for expanding the story. The result is a number of well established and interpretive traditions shared between Jewish and Christian literature. This book focuses on how the interpretive traditions derived from Genesis 4 exerted significant influence on Jewish and Christian authors who knew rewritten versions of the story. The goal is to help readers appreciate these traditions within the broader interpretive context rather than within the narrow confines of the canon.
Expanding the perspective initiated by British Romanticism and the Jews: History, Culture, Literature (0-312-29522-7), this volume explores more deeply the complexities inherent in the relationship between the British and Jewish cultures as initiated in the Romantic Period in England, though extending to the present in the Middle East.
Jews and Jazz: Improvising Ethnicity explores the meaning of Jewish involvement in the world of American jazz. It focuses on the ways prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw, Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have engaged with jazz in order to explore and construct ethnic identities. The author looks at Jewish identity through jazz in the context of the surrounding American culture, believing that American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish. From the beginning, Jewish musicians have used jazz for all three of these purposes, but the emphasis has shifted over time. In the 1920s and 1930s, when Jews were seen as foreign, Jews used jazz to make a more inclusive America, for themselves and for blacks, establishing their American identity. Beginning in the 1940s, as Jews became more accepted into the mainstream, they used jazz to "re-minoritize" and avoid over-assimilation through identification with African Americans. Finally, starting in the 1960s as ethnic assertion became more predominant in America, Jews have used jazz to explore and advance their identities as Jews in a multicultural society.