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In Revising Dreyfus, contributors from a wide variety of disciplines (art history, film, media, theater, sociology, history) offer new ways of understanding the ever-evolving meanings of the Dreyfus Affair. Although the Dreyfusards led the way in explicating the nuances of the Affair in lengthy treatises, the anti-Dreyfusards far outstripped their opponents on the graphic front, particularly through print media, photographs, postcards, broadsides, films, illustrated journal covers, and the plastic arts. Revising Dreyfus traces the dominant modes of “seeing” the Dreyfus Affair, often in opposition to “reading” the Affair in three major contexts: French, Zionist, and American.
Revising Dreyfus explores the use of both old and new media in the historical legacy of the Dreyfus Affair.
An insightful new biography of the central figure in the Dreyfus Affair, focused on the man himself and based on newly accessible documents On January 5, 1895, Captain Alfred Dreyfus’s cries of innocence were drowned out by a mob shouting “Death to Judas!” In this book, Maurice Samuels gives readers new insight into Dreyfus himself—the man at the center of the affair. He tells the story of Dreyfus’s early life in Paris, his promising career as a French officer, the false accusation leading to his imprisonment on Devil’s Island, the fight to prove his innocence that divided the French nation, and his life of quiet obscurity after World War I. Samuels’s striking perspective is enriched by a newly available archive of more than three thousand documents and objects donated by the Dreyfus family. Unlike many historians, Samuels argues that Dreyfus was not an “assimilated” Jew. Rather, he epitomized a new model of Jewish identity made possible by the French Revolution, when France became the first European nation to grant Jews full legal equality. This book analyzes Dreyfus’s complex relationship to Judaism and to antisemitism over the course of his life—a story that, as global antisemitism rises, echoes still. It also shows the profound effect of the Dreyfus Affair on the lives of Jews around the world.
From immigrant ghetto love stories such as The Cohens and the Kellys (1926), through romantic comedies including Meet the Parents (2000) and Knocked Up (2007), to television series such as Transparent (2014–), Jewish-Christian couplings have been a staple of popular culture for over a century. In these pairings, Joshua Louis Moss argues, the unruly screen Jew is the privileged representative of progressivism, secular modernism, and the cosmopolitan sensibilities of the mass-media age. But his/her unruliness is nearly always contained through romantic union with the Anglo-Christian partner. This Jewish-Christian meta-narrative has recurred time and again as one of the most powerful and enduring, although unrecognized, mass-culture fantasies. Using the innovative framework of coupling theory, Why Harry Met Sally surveys three major waves of Jewish-Christian couplings in popular American literature, theater, film, and television. Moss explores how first-wave European and American creators in the early twentieth century used such couplings as an extension of modernist sensibilities and the American “melting pot.” He then looks at how New Hollywood of the late 1960s revived these couplings as a sexually provocative response to the political conservatism and representational absences of postwar America. Finally, Moss identifies the third wave as emerging in television sitcoms, Broadway musicals, and “gross-out” film comedies to grapple with the impact of American economic globalism since the 1990s. He demonstrates that, whether perceived as a threat or a triumph, Jewish-Christian couplings provide a visceral, easily graspable, template for understanding the rapid transformations of an increasingly globalized world.
Distinctively coauthored by a Christian scholar and a Jewish scholar, this monumental, interdisciplinary study explores the various ways in which the Holocaust has been studied and assesses its continuing significance. The authors develop an analysis of the Holocaust's historical roots, its shattering impact on human civilization, and its decisive importance in determining the fate of the world. This revised edition takes into account developments in Holocaust studies since the first edition was published.
With the success of Martin Scorsese’s Hugo (2011) and Michel Hazanavicius’s The Artist (2011) nothing seems more contemporary in recent film than the styles, forms, and histories of early and silent cinemas. This collection considers the latest return to silent film alongside the larger historical field of visual repetitions and affective currents that wind their way through 20th and 21st century visual cultures. Contributors bring together several fields of research, including early and silent cinema studies, experimental and new media, historiography and archive theory, and studies of media ontology and epistemology. Chapters link the methods, concerns, and concepts of early and silent film studies as they have flourished over the last quarter century to the most recent developments in digital culture—from YouTube to 3D—recasting this contemporary phenomenon in popular culture and new media against key debates and concepts in silent film scholarship. An interview with acclaimed Canadian filmmaker Guy Maddin closes out the collection.
The last generation of German Jewish philosophers—the best known (Buber, Rosenzweig, Baeck, Strauss, Scholem) and the less known (Breuer, Birnbaum, Klatzkin, Guttmann)—are thoroughly explicated here with generous primary text citations appearing in English for the first time.
Co-published by Plunkett Lake Press and George Braziller, Inc. On an autumn morning in 1894, Captain Dreyfus was summoned to appear for a routine inspection; instead, as he took down a letter dictated by a senior officer, he was summarily accused of high treason. So began a twelve-year series of events that included his imprisonment on Devil’s Island, the publication of Emile Zola’s passionateJ’Accuse, the Rennes retrial, and the pardon and final rehabilitation of 1906. As the Dreyfus case turned into the Affair, the history of a single military career came to display the conflicts that were tearing France apart: military defeat, anti-Semitic furor, and the place of traditional values in a country still reeling from the turbulence of the French Revolution. Told with an historian’s insight and a novelist’s skill, The Affairmakes fascinating and informative reading about one of the most celebrated episodes in modern history. “There have been many books about the Dreyfus Affair, but Jean-Denis Bredin's book is one of the best of them — lucid, well-organized, informed by a fine sense of drama.” — John Gross, The New York Times “[a] critically acclaimed study” — Michiko Kakutani, The New York Times “If one is limited to a single book about the Dreyfus case and its consequences, this should be it. Bredin has told this story with precision, passion, and a vivid sense of character.” — The New York Review of Books “A brilliant and fascinating book. What is most remarkable about The Affair is the skill and sensitivity with which the author places it in its essential historical setting. It is also a gripping — though terrible — story superbly told.” — The Atlantic “This is the most judicious and absorbing account to date of the Dreyfus Case.” — The Boston Globe “This is certainly the best book on the Dreyfus case now available in the English language.” — San Francisco Examiner “Bredin is crystal clear in his gripping narrative of the complex case. His tapestry glows with all the color of the Belle Epoque and its extravagances.” — Chicago Sun-Times “There have been other books on the Affair, but I can’t imagine any of them coming even close to Bredin’s work. He is brilliant at placing the myriad elements of the Affair in context with verve and lucidity. It should be a model for future historians.” — San Francisco Chronicle
In the years before, during, and after the First World War, hundreds of young Jews flocked to Paris, artistic capital of the world and center of modernist experimentation. Some arrived with prior training from art academies in Kraków, Vilna, and Vitebsk; others came armed only with hope and a few memorized phrases in French. They had little Jewish tradition in painting and sculpture to draw on, yet despite these obstacles, these young Jews produced the greatest efflorescence of art in the long history of the Jewish people. The paintings of Marc Chagall, Amedeo Modigliani, Chaim Soutine, Sonia Delaunay-Terk, and Emmanuel Mané-Katz, the sculptures of Jacques Lipchitz, Ossip Zadkine, Chana Orloff, and works by many other artists now grace the world's museums. As the École de Paris was the most cosmopolitan artistic movement the world had seen, the left-bank neighborhood of Montparnasse became a meeting place for diverse cultures. How did the tolerant, bohemian atmosphere of Montparnasse encourage an international style of art in an era of bellicose nationalism, not to mention racism and antisemitism? How did immigrants not only absorb but profoundly influence a culture? This book examines how the clash of cultures produced genius.