Author: Miriam Peskowitz
Publisher: Univ of California Press
Miriam Peskowitz offers a dramatic revision to our understanding of early rabbinic Judaism. Using a wide range of sources—archaeology, legal texts, grave goods, technology, art, and writings in Hebrew, Aramaic, Greek, and Latin—she challenges traditional assumptions regarding Judaism's historical development. Following the destruction of the Jerusalem Temple by Roman armies in 70 C.E., new incarnations of Judaism emerged. Of these, rabbinic Judaism was the most successful, becoming the classical form of the religion. Through ancient stories involving Jewish spinners and weavers, Peskowitz re-examines this critical moment in Jewish history and presents a feminist interpretation in which gender takes center stage. She shows how notions of female and male were developed by the rabbis of Roman Palestine and why the distinctions were so important in the formation of their religious and legal tradition. Rabbinic attention to women, men, sexuality, and gender took place within the "ordinary tedium of everyday life, in acts that were both familiar and mundane." While spinners and weavers performed what seemed like ordinary tasks, their craft was in fact symbolic of larger gender and sexual issues, which Peskowitz deftly explicates. Her study of ancient spinning and her abundant source material will set new standards in the fields of gender studies, Jewish studies, and cultural studies.
In The Fantasy of Feminist History, Joan Wallach Scott argues that feminist perspectives on history are enriched by psychoanalytic concepts, particularly fantasy. Tracing the evolution of her thinking about gender over the course of her career, the pioneering historian explains how her search for ways to more forcefully insist on gender as mutable rather than fixed or stable led her to psychoanalytic theory, which posits sexual difference as an insoluble dilemma. Scott suggests that it is the futile struggle to hold meaning in place that makes gender such an interesting historical object, an object that includes not only regimes of truth about sex and sexuality but also fantasies and transgressions that refuse to be regulated or categorized. Fantasy undermines any notion of psychic immutability or fixed identity, infuses rational motives with desire, and contributes to the actions and events that come to be narrated as history. Questioning the standard parameters of historiography and feminist politics, Scott advocates fantasy as a useful, even necessary, concept for feminist historical analysis.
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Fantasy is a creation of the Enlightenment, and the recognition that excitement and wonder can be found in imagining impossible things. From the ghost stories of the Gothic to the zombies and vampires of twenty-first-century popular literature, from Mrs Radcliffe to Ms Rowling, the fantastic has been popular with readers. Since Tolkien and his many imitators, however, it has become a major publishing phenomenon. In this volume, critics and authors of fantasy look at its history since the Enlightenment, introduce readers to some of the different codes for the reading and understanding of fantasy, and examine some of the many varieties and subgenres of fantasy; from magical realism at the more literary end of the genre, to paranormal romance at the more popular end. The book is edited by the same pair who produced The Cambridge Companion to Science Fiction (winner of a Hugo Award in 2005).
Author: Marilyn Booth
Publisher: Duke University Press
An interdisciplinary collection of essays exploring the harem as it was imagined, represented, and experienced in Middle Eastern and North African societies, and by visitors to those societies.
Author: Ryan Minor
Publisher: Cambridge University Press
The first study to connect the exponential growth in amateur choral singing to the culture of public celebrations and festivals.
Rivers of London
Author: Ben Aaronovitch
My name is Peter Grant and until January I was just probationary constable in that mighty army for justice known to all right-thinking people as the Metropolitan Police Service (and as the Filth to everybody else). My only concerns in life were how to avoid a transfer to the Case Progression Unit - we do paperwork so real coppers don't have to - and finding a way to climb into the panties of the outrageously perky WPC Leslie May. Then one night, in pursuance of a murder inquiry, I tried to take a witness statement from someone who was dead but disturbingly voluable, and that brought me to the attention of Inspector Nightingale, the last wizard in England. Now I'm a Detective Constable and a trainee wizard, the first apprentice in fifty years, and my world has become somewhat more complicated: nests of vampires in Purley, negotiating a truce between the warring god and goddess of the Thames, and digging up graves in Covent Garden ... and there's something festering at the heart of the city I love, a malicious vengeful spirit that takes ordinary Londoners and twists them into grotesque mannequins to act out its drama of violence and despair.The spirit of riot and rebellion has awakened in the city, and it's falling to me to bring order out of chaos - or die trying.
Despite its popularity during the nineteenth century, regional literature has often been overlooked with regard to its role in the development of German national consciousness. By exploring various illustrations of geographic-historical landscapes in texts written before the 1848 revolutions and after the 1871 unification, this book investigates the vital polyphony generated by unique regional voices throughout the age of nationalism. Close readings of texts by Berthold Auerbach, Theodor Storm, Wilhelm Raabe, Fritz Reuter, Theodor Fontane, Gottfried Keller, and Marie von Ebner-Eschenbach examine recognizable and unfamiliar regions. Although this study concentrates on provincial writings, literary regionalism’s fictionality and simultaneous referentiality raise broader questions for the programmatic aesthetics of Poetic Realism and for inquiries into identity formation.
The Heritage Theatre
Author: Marlite Halbertsma
Publisher: Cambridge Scholars Publishing
The Heritage Theatre is a book about cultural heritage and globalisation. Cultural heritage is the stage on which the global community, smaller communities and individuals play out their similarities and differences, their identities and singularities. Cultural heritage forms an implicit cultural code governing the relationship between parts and the whole, individuals and communities, communities and outsiders, as well as the relationship between communities and the world as a whole. Cultural heritage, by way of its producers, its products and its audience, presents an image of the world and its inner coherence. The subjects in this book range from places as distant from each other as Dar-es-Salaam, Jakarta, Amsterdam, Le Creusot, Trinidad, Brazzaville, Bremerhaven, New York and Prague, and deal with themes such as wayang, Kylie Minogue, airports and heritage, modernist architecture in Africa and the impact of DNA research on the concept of roots. The volume is based on papers presented at a conference organised by the Erasmus School of History, Culture and Communication of Erasmus University Rotterdam. The authors have backgrounds in cultural studies, art history, anthropology, museum studies, sociology, tourist studies and history.
2007 Choice Outstanding Academic Title At the funeral of Matthew Shepard—the young Wyoming man brutally murdered for being gay—the Reverend Fred Phelps led his parishioners in protest, displaying signs with slogans like “Matt Shepard rots in Hell,” “Fags Die God Laughs,” and “God Hates Fags.” In counter-protest, activists launched an “angel action,” dressing in angel costumes, with seven-foot high wings, and creating a visible barrier so one would not have to see the hateful signs. Though long thought of as one of the most virulently anti-gay genres of contemporary American politics and culture, in God Hates Fags, Michael Cobb maintains that religious discourses have curiously figured as the most potent and pervasive forms of queer expression and activism throughout the twentieth century. Cobb focuses on how queers have assumed religious rhetoric strategically to respond to the violence done against them, alternating close readings of writings by James Baldwin, Tennessee Williams, Jean Toomer, Dorothy Allison, and Stephen Crane with critical legal and political analyses of Supreme Court Cases and anti-gay legislation. He also pays deep attention to the political strategies, public declarations, websites, interviews, and other media made by key religious right organizations that have mounted the most successful regulations and condemnations of homosexuality.
In Sexual Revolutions in Cuba Carrie Hamilton delves into the relationship between passion and politics in revolutionary Cuba to present a comprehensive history of sexuality on the island from the triumph of the Revolution in 1959 into the twenty-first century. Drawing on an unused body of oral history interviews as well as press accounts, literary works, and other published sources, Hamilton pushes beyond official government rhetoric and explores how the wider changes initiated by the Revolution have affected the sexual lives of Cuban citizens. She foregrounds the memories and emotions of ordinary Cubans and compares these experiences with changing policies and wider social, political, and economic developments to reveal the complex dynamic between sexual desire and repression in revolutionary Cuba. Showing how revolutionary and prerevolutionary values coexist in a potent and sometimes contradictory mix, Hamilton addresses changing patterns in heterosexual relations, competing views of masculinity and femininity, same-sex relationships and homophobia, AIDS, sexual violence, interracial relationships, and sexual tourism. Hamilton's examination of sexual experiences across generations and social groups demonstrates that sexual politics have been integral to the construction of a new revolutionary Cuban society.
A major new study of white working class Britain since 1930, that shows how meanings of poverty have changed over time and how individuals reject categorization by the state. This book challenges accepted wisdom on the white working class, providing new understandings of community, place and class, arguing for the importance of migration.
Almost half a century ago, Jean-Luc Godard famously remarked, "I await the end of cinema with optimism." Lots of us have been waiting forand wondering aboutthis prophecy ever since. The way films are made and exhibited has changed significantly. Films, some of which are not exactly "films" anymore, can now be projected in a wide variety of wayson screens in revamped high tech theaters, on big, high-resolution TVs, on little screens in minivans and laptops. But with all this new gear, all these new ways of viewing films, are we necessarily getting different, better movies? The thirty-four brief essays in The End of Cinema as We Know It attend a variety of topics, from film censorship and preservation to the changing structure and status of independent cinemafrom the continued importance of celebrity and stardom to the sudden importance of alternative video. While many of the contributors explore in detail the pictures that captured the attention of the nineties film audience, such as Jurassic Park, Eyes Wide Shut, South Park: Bigger, Longer and Uncut, The Wedding Banquet, The Matrix, Independence Day, Gods and Monsters, The Nutty Professor, and Kids, several essays consider works that fall outside the category of film as it is conventionally definedthe home "movie" of Pamela Anderson and Tommy Lee's honeymoon and the amateur video of the LAPD beating of Rodney King. Examining key films and filmmakers, the corporate players and industry trends, film styles and audio-visual technologies, the contributors to this volume spell out the end of cinema in terms of irony, cynicism and exhaustion, religious fundamentalism and fanaticism, and the decline of what we once used to call film culture. Contributors include: Paul Arthur, Wheeler Winston Dixon, Thomas Doherty, Thomas Elsaesser, Krin Gabbard, Henry Giroux, Heather Hendershot, Jan-Christopher Hook, Alexandra Juhasz, Charles Keil, Chuck Klienhans, Jon Lewis, Eric S. Mallin, Laura U. Marks, Kathleen McHugh, Pat Mellencamp, Jerry Mosher, Hamid Naficy, Chon Noriega, Dana Polan, Murray Pomerance, Hillary Radner, Ralph E. Rodriguez, R.L. Rutsky, James Schamus, Christopher Sharrett, David Shumway, Robert Sklar, Murray Smith, Marita Sturken, Imre Szeman, Frank P. Tomasulo, Maureen Turim, Justin Wyatt, and Elizabeth Young.
First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.