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In 1638, a small book of no more than 92 pages in octavo was published “appresso Gioanne Calleoni” under the title “Discourse on the State of the Jews and in particular those dwelling in the illustrious city of Venice.” It was dedicated to the Doge of Venice and his counsellors, who are labelled “lovers of Truth.” The author of the book was a certain Simone (Simḥa) Luzzatto, a native of Venice, where he lived and died, serving as rabbi for over fifty years during the course of the seventeenth century. Luzzatto’s political thesis is simple and, at the same time, temerarious, if not revolutionary: Venice can put an end to its political decline, he argues, by offering the Jews a monopoly on overseas commercial activity. This plan is highly recommendable because the Jews are “wellsuited for trade,” much more so than others (such as “foreigners,” for example). The rabbi opens his argument by recalling that trade and usury are the only occupations permitted to Jews. Within the confines of their historical situation, the Venetian Jews became particularly skilled at trade with partners from the Eastern Mediterranean countries. Luzzatto’s argument is that this talent could be put at the service of the Venetian government in order to maintain – or, more accurately, recover – its political importance as an intermediary between East and West. He was the first to define the role of the Jews on the basis of their economic and social functions, disregarding the classic categorisation of Judaism’s alleged privileged religious status in world history. Nonetheless, going beyond the socio-economic arguments of the book, it is essential to point out Luzzatto’s resort to sceptical strategies in order to plead in defence of the Venetian Jews. It is precisely his philosophical and political scepticism that makes Luzzatto’s texts so unique. This edition aims to grant access to his works and thought to English-speaking readers and scholars. By approaching his texts from this point of view, the editors hope to open a new path in research into Jewish culture and philosophy that will enable other scholars to develop new directions and new perspectives, stressing the interpenetration between Jews and the surrounding Christian and secular cultures.
Traces the story of India's expansion that is woven into the culture of Southeast Asia.
The World Water Development Report 2003 pointed out the extensive problem that: 'Sadly, the tragedy of the water crisis is not simply a result of lack of water but is, essentially, one of poor water governance.' Cross-sectional and historical intra-national and international comparisons have been recognized as a valuable method of study in different sectors of human life, including technologies and governance. Environmental History of Water fills this gap, with its main focus being on water and sanitation services and their evolution. Altogether 34 authors have written 30 chapters for this multidisciplinary book which divides into four chronological parts, from ancient cultures to the challenges of the 21st century, each with its introduction and conclusions written by the editors. The authors represent such disciplines as history of technology, history of public health, public policy, development studies, sociology, engineering and management sciences. This book emphasizes that the history of water and sanitation services is strongly linked to current water management and policy issues, as well as future implications. Geographically the book consists of local cases from all inhabited continents. The key penetrating themes of the book include especially population growth, health, water consumption, technological choices and governance. There is great need for general, long-term analysis at the global level. Lessons learned from earlier societies help us to understand the present crisis and challenges. This new book, Environmental History of Water, provides this analysis by studying these lessons.
Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself-his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard's career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.
"Film: A Critical Introduction "provides a comprehensive framework for studying films, with an emphasis on writing as a means of exploring film's aesthetic and cultural significance. This text's consistent and comprehensive focus on writing allows students to master film vocabulary and concepts while learning to formulate rich interpretations. Part I introduces readers to the importance of film analysis, offering helpful strategies for discerning the way films produce meaning. Part II examines the fundamental elements of film, including narrative form, mise en scene, cinematography, editing, and sound, and shows how these concepts can be used to interpret films. Part III moves beyond textual analysis to explore film as a cultural institution and introduce students to essential areas of film studies research.
Trouble Boys is the first definitive, no-holds-barred biography of one of the last great bands of the twentieth century: The Replacements. With full participation from reclusive singer and chief songwriter Paul Westerberg, bassist Tommy Stinson, guitarist Slim Dunlap, and the family of late band co-founder Bob Stinson, author Bob Mehr is able to tell the real story of this highly influential group, capturing their chaotic, tragic journey from the basements of Minneapolis to rock legend. Drawing on years of research and access to the band's archives at Twin/Tone Records and Warner Bros. Mehr also discovers previously unrevealed details from those in the group's inner circle, including family, managers, musical friends and collaborators.
Prolific poet, award-winning translator, esteemed critic--"certainly the best poetry critic in sight," according to Lawrence Ferlinghetti--essayist and journalist, editor and novelist, Stephen Kessler has been a constant creative force in the American literary counterculture for more than fifty years. In Last Call Kessler records with grief and wit, documentary realism and ranging imagination, poignancy , irony, and reflection a journey through the gains and losses of a lifetime. His emotional honesty, conversational lyricism and wry melancholy are down to earth, heart-opening and consciousness-wrenching, retro-romantic and totally contemporary. Open this book to any page and find the unmistakably authentic voice of Stephen Kessler.
Nostradamus (Michel de Nostradame) was born on December 14, 1503 in St. Remy, Provence, France. Nostradamus came from a long line of Jewish doctors and scholars. He is considered by many as one of the most famous and important writers of history prophecies. He is famous mainly for his book 'The Prophecies, ' consisting of quarantine in rhyme. Supporters of the trustworthiness of these prophecies attribute to Nostradamus the ability to predict an incredible number of events in world history, including the French Revolution, the Atomic bomb, the rise to power of Adolf Hitler and the attacks of 11 September 2001. However, no one has ever proved that Nostradamus's quarters can provide reliable data for the foreseeable future. Nostradamus had the visions which he later recorded in verse while staring into water or flame late at night, sometimes aided by herbal stimulants, while sitting on a brass tripod. The resulting quatrains (four line verses) are oblique and elliptical, and use puns, anagrams and allegorical imagery. Most of the quatrains are open to multiple interpretations, and some make no sense whatsoever. Some of them are chilling, literal descriptions of events, giving specific or near-specific names, geographic locations, astrological configurations, and sometimes actual dates. It is this quality of both vagueness and specificity which allows each new generation to reinterpret Nostradamus.