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A cursed book. A missing professor. Some nefarious men in gray suits. And a dreamworld called the Troposphere? Ariel Manto has a fascination with nineteenth-century scientists—especially Thomas Lumas and The End of Mr. Y, a book no one alive has read. When she mysteriously uncovers a copy at a used bookstore, Ariel is launched into an adventure of science and faith, consciousness and death, space and time, and everything in between. Seeking answers, Ariel follows in Mr. Y’s footsteps: She swallows a tincture, stares into a black dot, and is transported into the Troposphere—a wonderland where she can travel through time and space using the thoughts of others. There she begins to understand all the mysteries surrounding the book, herself, and the universe. Or is it all just a hallucination? With The End of Mr. Y, Scarlett Thomas brings us another fast-paced mix of popular culture, love, mystery, and irresistible philosophical adventure.
169 papers from the Toledo Congress of the European Association for Jewish Studies, offering a broad, realistic perspective on the advances, achievements and anxieties of Judaic Studies, from the Bible to our days, on the eve of the new millennium.
In July of 1998 the European Association for Jewish Studies celebrated its Sixth Congress in Toledo, with almost four hundred participants. In these Proceedings have been collected 169 papers and communications read during the conference. By and large, they offer a broad, realistic perspective on the advances, achievements and anxieties of Judaic Studies at the turn of the 20th century, on the eve of the new millennium. They represent the point of view of the European scholars, enriched with notable contributions by colleagues from other continents. One volume (ISBN 978-90-04-11554-5) includes papers dealing with Jewish studies on biblical, rabbinical and medieval times, as well as with some general subjects, such as Jewish languages and bibliography. A second volume (ISBN 978-90-04-11558-3) is dedicated to the Judaism of modern times, from the Renaissance to our days.
Explores the works of five major American Jewish artists: Jack Levine, George Segal, Audrey Flack, Larry Rivers, and R. B. Kitaj. Focuses on the use of imagery influenced by the Bible.
How did Jews go from lives organized by synagogues, shul, and mikvehs to lives that—if explicitly Jewish at all—were conducted in Hillel houses, JCCs, Katz's, and even Chabad? In pre-emancipation Europe, most Jews followed Jewish law most of the time, but by the turn of the twentieth century, a new secular Jewish identity had begun to take shape. Homes Away From Home tells the story of Ashkenazi Jews as they made their way in European society in the late nineteenth and twentieth centuries, focusing on the Jewish communities of Paris, Berlin, and St. Petersburg. At a time of growing political enfranchisement for Jews within European nations, membership in the official Jewish community became increasingly optional, and Jews in turn created spaces and programs to meet new social needs. The contexts of Jewish life expanded beyond the confines of "traditional" Jewish spaces into sites of consumption and leisure, sometimes to the consternation of Jewish authorities. Sarah Wobick-Segev argues that the social practices that developed between 1890 and the 1930s—such as celebrating holydays at hotels and restaurants, or sending children to summer camp—fundamentally reshaped Jewish community, redefining and extending the boundaries of where Jewishness happened.
"The beginning of this tale of bygone days in Odessa dates to the dawn of the twentieth century. At that time we used to refer to the first years of this period as the 'springtime,' meaning a social and political awakening. For my generation, these years also coincided with our own personal springtime, in the sense that we were all in our youthful twenties. And both of these springtimes, as well as the image of our carefree Black Sea capital with acacias growing along its steep banks, are interwoven in my memory with the story of one family in which there were five children: Marusya, Marko, Lika, Serezha, and Torik."—from The Five The Five is an captivating novel of the decadent fin-de-siècle written by Vladimir Jabotinsky (1880–1940), a controversial leader in the Zionist movement whose literary talents, until now, have largely gone unrecognized by Western readers. The author deftly paints a picture of Russia's decay and decline—a world permeated with sexuality, mystery, and intrigue. Michael R. Katz has crafted the first English-language translation of this important novel, which was written in Russian in 1935 and published a year later in Paris under the title Pyatero. The book is Jabotinsky's elegaic paean to the Odessa of his youth, a place that no longer exists. It tells the story of an upper-middle-class Jewish family, the Milgroms, at the turn of the century. It follows five siblings as they change, mature, and come to accept their places in a rapidly evolving world. With flashes of humor, Jabotinsky captures the ferment of the time as reflected in political, social, artistic, and spiritual developments. He depicts with nostalgia the excitement of life in old Odessa and comments poignantly on the failure of the dream of Jewish assimilation within the Russian empire.
The Jewish Metropolis: New York City from the 17th to the 21st Century covers the entire sweep of the history of the largest Jewish community of all time. It provides an introduction to many facets of that history, including the ways in which waves of immigration shaped New York’s Jewish community; Jewish cultural production in English, Yiddish, Ladino, and German; New York’s contribution to the development of American Judaism; Jewish interaction with other ethnic and religious groups; and Jewish participation in the politics and culture of the city as a whole. Each chapter is written by an expert in the field, and includes a bibliography for further reading. The Jewish Metropolis captures the diversity of the Jewish experience in New York.
Viennese popular culture at the turn of the twentieth century was the product of the city’s Jewish and non-Jewish residents alike. While these two communities interacted in a variety of ways to their mutual benefit, Jewish culture was also inevitably shaped by the city’s persistent bouts of antisemitism. This fascinating study explores how Jewish artists, performers, and impresarios reacted to prejudice, showing how they articulated identity through performative engagement rather than anchoring it in origin and descent. In this way, they attempted to transcend a racialized identity even as they indelibly inscribed their Jewish existence into the cultural history of the era.