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In Jews, Gentiles, and Other Animals, Mira Beth Wasserman undertakes a close reading of Avoda Zara, arguably the Babylonian Talmud's most scandalous tractate. According to Wasserman, Avoda Zara is where this Talmud joins the humanities in questioning what it means to be a human.
The dog has captured the Jewish imagination from antiquity to the contemporary period, with the image of the dog often used to characterize and demean Jewish populations in medieval Christendom. This book discusses the cultural manifestations of the relationship between dogs and Jews, from ancient times onwards.
In developing his own conception of the 'figure', Andrew Benjamin has written an innovative and provocative study of the complex relationship between philosophy, the history of painting and their presentation of both Jews and animals. Newly available in p
From the authors of the bestselling Yiddish with Dick and Jane and Yiddish with George and Laura, this essential "guide" is sure to be a complete howl. Questions to Ask a Breeder: 1. What kind of job is this, growing dogs? 2. Are these dogs nice? I mean of course they are. But if not, is this refundable? 3. Is this a stable business? Do you make a decent living? 4. Does the insurance kill you or is it okay? 5. Dogs are animals, does this mean you qualify for some kind of Federal ranch subsidies? 6. What do I say to people who want to know how I can spend $1500 and up on a dog when there are so many dogs to be rescued from the pound? The (make-believe) Rabbis of the (fictional) Boca Raton Theological Seminary have developed the essential dog training program for raising a Jewish dog. For the first time, the same dynamic blend of passive-aggressiveness and smothering indulgence, that unique alloy of infantilization and disingenuous manipulation that created generations of high-achieving Jewish boys and girls, can be applied to create a generation of high-achieving Jewish doggies.
"Originally published in Hebrew as HaKelev HaYehudi by Yedioth Ahronoth in 2007; translated by Michal Kessler; edited by Shari Dash Greenspan"--Title page verso.
“Ask the beast and it will teach thee, and the birds of heaven and they will tell thee.” —Job 12:7 In the Middle Ages, the bestiary achieved a popularity second only to that of the Bible. In addition to being a kind of encyclopedia of the animal kingdom, the bestiary also served as a book of moral and religious instruction, teaching human virtues through a portrayal of an animal’s true or imagined behavior. In A Jewish Bestiary, Mark Podwal revisits animals, both real and mythical, that have captured the Jewish imagination through the centuries. Originally published in 1984 and called “broad in learning and deep in subtle humor” by the New York Times, this updated edition of A Jewish Bestiary features new full-color renderings of thirty-five creatures from Hebraic legend and lore. The illustrations are accompanied by entertaining and instructive tales drawn from biblical, talmudic, midrashic, and kabbalistic sources. Throughout, Podwal combines traditional Jewish themes with his own distinctive style. The resulting juxtaposition of art with history results in a delightful and enlightening bestiary for the twenty-first century. From the ant to the ziz, herein are the creatures that exert a special force on the Jewish fancy.
This book explores the similar attitudes and methods behind modern society's treatment of animals and the way humans have often treated each other, most notably during the Holocaust. The book's epigraph and title are from "The Letter Writer," a story by the Yiddish writer and Nobel Laureate Isaac Bashevis Singer: "In relation to them, all people are Nazis; for the animals it is an eternal Treblinka." The first part of the book (Chapter 1-2) describes the emergence of human beings as the master species and their domination over the rest of the inhabitants of the earth. The second part (Chapters 3-5) examines the industrialization of slaughter (of both animals and humans) that took place in modern times. The last part of the book (Chapters 6-8) profiles Jewish and German animal advocates on both sides of the Holocaust, including Isaac Bashevis Singer himself. The Foreword is by Lucy Rosen Kaplan, former attorney for People for the Ethical Treatment of Animals (PETA) and daughter of Holocaust survivors. Her foreword, the Preface and Afterword, excerpts from the book, chapter synopses, and an international list of supporters can be found on the book's website at: www.powerfulbook.com
"This is the first book to explore the paradox of the Nazi cult of animals and the obsession with the annhilation of "biologically inferior" people." "Animals in the Third Reich begins by contrasting Jewish, Christian, and polytheistic traditions relating to animals in Germany, and examines the ways that the Nazi movement adopted, altered, challenged, or exploited these traditions. This discussion covers several perspectives on the treatment of animals, including those of zoologists, veterinarians, novelists, painters, sculptors, and the general public. Adopting and exploiting such traditions, the Nazis elaborated their own symbolic system of relating certain animals to supporters and antagonists of the movement - Aryan wolves and horses; Jewish pigs and apes."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The Animal in the Synagogue explores Franz Kafka’s sense of being a Jew in the modern world and its literary and linguistic ramifications. It falls into two parts. The first is organized around the theme of Kafka’s complex and often self-derogatory understanding and assessment of his own Jewishness and of the place the modern Jew occupies in “the abyss of the world” (Martin Buber). That part is based on a close reading of Kafka’s correspondence with his Czech lover, Milena Jesenska, and on a meticulous analysis, thematic, stylistic, and structural, of Kafka’s only short story touching openly and directly upon Jewish social and ritual issues, and known as “In Our Synagogue” (the title—not by the author). In both the letters and the short story images of small animals—repulsive, dirty, or otherwise objectionable—are used by Kafka as means of exploring his own manhood and the Jewish tradition at large as he understood it. The second part of the book focuses on Kafka’s place within the complex of Jewish writing of his time in all its three linguistic forms: Hebrew writing (essentially Zionist), Yiddish writing (essentially nationalistic but not committed to Zionism), and the writing, like his, in non-Jewish languages (mainly German) and within the non-Jewish religious and artistic traditions which inhered in them. The essay deals in detail with Kafka’s responses to contemporary Jewish literatures, and his pessimistic evaluation of those literatures’ potential. Essentially, Kafka doubted the sheer possibility of a genuine and culturally tenable compromise (let alone synthesis) between Jewishness and modernity. The book deals with topics and some texts that the flourishing, ever expanding Kafka scholarship has either neglected or misunderstood because most scholars had no real background in either Hebrew or Yiddish studies, and were unable to grasp the nuances and subtle intentions in Kafka’s attitudes toward modern Hebrew and Yiddish literature and their paragons, such as the major Zionist Hebrew poet H.N. Bialik or the Yiddish master Sholem Aleichem.
A study of animal sacrifice within Greek paganism, Judaism, and Christianity between 100 BC and AD 200. After a vivid account of the realities of sacrifice in the Greek East and in the Jerusalem Temple, Maria-Zoe Petropoulou explores the attitudes of early Christians towards this practice, and the reasons why they ultimately rejected it.