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In the first book-length study of Takkanot Kandiyah, Martin Borýsek analyses this fascinating corpus of Hebrew texts written between 1228 –1583 by the leaders of the Jewish community in Candia, the capital of Venetian Crete. Collected in the 16th century by the Cretan Jewish historian Elijah Capsali, the communal byelaws offer a unique perspective on the history of a vibrant, culturally diverse Jewish community during three centuries of Venetian rule. As well as confronting practical problems such as deciding whether Christian wine can be made kosher by adding honey, or stopping irresponsible Jewish youths disturbing religious services by setting off fireworks in the synagogue, Takkanot Kandiyah presents valuable material for the study of communal autonomy and institutional memory in pre-modern Jewish society.
This book offers a comprehensive, multidisciplinary introduction to theme parks and the field of theme park studies. It identifies and discusses relevant economic, social, and cultural as well as medial, historical, and geographical aspects of theme parks worldwide, from the big international theme park chains to smaller, regional, family-operated parks. The book also describes the theories and methods that have been used to study theme parks in various academic disciplines and reviews the major contexts in which theme parks have been studied. By providing the necessary backgrounds, theories, and methods to analyze and understand theme parks both as a business field and as a socio-cultural phenomenon, this book will be a great resource to students, academics from all disciplines interested in theme parks, and professionals and policy-makers in the leisure and entertainment as well as the urban planning sector.
The Tetrarchy as Ideology
(2023)
The 'Tetrarchy', the modern name assigned to the period of Roman history that started with the emperor Diocletian and ended with Constantine I, has been a much-studied and much-debated field of the Roman Empire. Debate, however, has focused primarily on whether it was a true 'system' of government, or rather a collection of ad-hoc measures undertaken to stabilise the empire after the troubled period of the 3rd century CE. The papers collected here aim to go beyond this question and to present an innovative approach to a fascinating period of Roman history by understanding the Tetrarchy not as a system of government, but primarily as a political language. Their focus thus lies on the language and ideology of the imperial college and court, on the performance of power in imperial ceremonies, the representation of the emperors and their enemies in the provinces of the Roman world, as well as on the afterlife of Tetrarchic power in the Constantinian period.
This book provides a new perspective on prosodically marked declaratives, wh-exclamatives, and discourse particles in the Madrid variety of Spanish. It argues that some marked forms differ from unmarked forms in that they encode modal evaluations of the at-issue meaning. Two epistemic evaluations that can be shown to be encoded by intonation in Spanish are obviousness and mirativity, which present the at-issue meaning as expected and unexpected, respectively. An empirical investigation via a production experiment finds that they are associated with distinct intonational features under constant focus scope, with stances of (dis)agreement showing an impact on obvious declaratives. Wh-exclamatives are found not to differ significantly in intonational marking from neutral declaratives, showing that they need not be miratives. Moreover, we find that intonational marking on different discourse particles in natural dialogue correlates with their meaning contribution without being fully determined by it. In part, these findings quantitatively confirm previous qualitative findings on the meaning of intonational configurations in Madrid Spanish. But they also add new insights on the role intonation plays in the negotiation of commitments and expectations between interlocutors.
So Many Things are Yours
(2023)
The poet and Talmud scholar examines Jewish texts, sexuality, and human vulnerability in poems that brim with wonder, sadness, sensuality, and humor.
Kosman’s second volume in English explores Jewish texts ―Bible, Talmud, midrash ― alongside bodies, physical desires, military experiences, even a refrigerator. Demons and fantasy enter these poems; so do politics, so does God. These are not religious poems in a conventionally liturgical, “inspirational” sense; yet they point to the big questions that religion asks: about love, hate, desire, violence, transgression, disappointment.
Zimzum
(2023)
The Hebrew word zimzum originally means “contraction,” “withdrawal,” “retreat,” “limitation,” and “concentration.” In Kabbalah, zimzum is a term for God’s self-limitation, done before creating the world to create the world. Jewish mystic Isaac Luria coined this term in Galilee in the sixteenth century, positing that the God who was “Ein-Sof,” unlimited and omnipresent before creation, must concentrate himself in the zimzum and withdraw in order to make room for the creation of the world in God’s own center. At the same time, God also limits his infinite omnipotence to allow the finite world to arise. Without the zimzum there is no creation, making zimzum one of the basic concepts of Judaism.
The Lurianic doctrine of the zimzum has been considered an intellectual showpiece of the Kabbalah and of Jewish philosophy. The teaching of the zimzum has appeared in the Kabbalistic literature across Central and Eastern Europe, perhaps most famously in Hasidic literature up to the present day and in philosopher and historian Gershom Scholem’s epoch-making research on Jewish mysticism. The Zimzum has fascinated Jewish and Christian theologians, philosophers, and writers like no other Kabbalistic teaching. This can be seen across the philosophy and cultural history of the twentieth century as it gained prominence among such diverse authors and artists as Franz Rosenzweig, Hans Jonas, Isaac Bashevis Singer, Harold Bloom, Barnett Newman, and Anselm Kiefer.
This book follows the traces of the zimzum across the Jewish and Christian intellectual history of Europe and North America over more than four centuries, where Judaism and Christianity, theosophy and philosophy, divine and human, mysticism and literature, Kabbalah and the arts encounter, mix, and cross-fertilize the interpretations and appropriations of this doctrine of God’s self-entanglement and limitation
Zimzum
(2023)
Zimzum is the kabbalistic idea that God created the world by limiting his omnipresence. Zimzum originated in the teachings of the sixteenth-century Jewish mystic Isaac Luria and here, Christoph Schulte follows its traces across the Jewish and Christian intellectual history of Europe and North America over four centuries.
The Hebrew word zimzum originally means “contraction,” “withdrawal,” “retreat,” “limitation,” and “concentration.” In Kabbalah, zimzum is a term for God’s self-limitation, done before creating the world to create the world. Jewish mystic Isaac Luria coined this term in Galilee in the sixteenth century, positing that the God who was “Ein-Sof,” unlimited and omnipresent before creation, must concentrate himself in the zimzum and withdraw in order to make room for the creation of the world in God’s own center. At the same time, God also limits his infinite omnipotence to allow the finite world to arise. Without the zimzum there is no creation, making zimzum one of the basic concepts of Judaism.
The Lurianic doctrine of the zimzum has been considered an intellectual showpiece of the Kabbalah and of Jewish philosophy. The teaching of the zimzum has appeared in the Kabbalistic literature across Central and Eastern Europe, perhaps most famously in Hasidic literature up to the present day and in philosopher and historian Gershom Scholem’s epoch-making research on Jewish mysticism. The Zimzum has fascinated Jewish and Christian theologians, philosophers, and writers like no other Kabbalistic teaching. This can be seen across the philosophy and cultural history of the twentieth century as it gained prominence among such diverse authors and artists as Franz Rosenzweig, Hans Jonas, Isaac Bashevis Singer, Harold Bloom, Barnett Newman, and Anselm Kiefer.
This book follows the traces of the zimzum across the Jewish and Christian intellectual history of Europe and North America over more than four centuries, where Judaism and Christianity, theosophy and philosophy, divine and human, mysticism and literature, Kabbalah and the arts encounter, mix, and cross-fertilize the interpretations and appropriations of this doctrine of God’s self-entanglement and limitation.
SNS Democracy Council 2023
(2023)
Transboundary problems such as climate change, military conflicts, trade barriers, and refugee flows require increased collaboration across borders. This is to a large extent possible using existing international organizations. In such a case, however, they need to be considerably strengthened – while current trends take us in the opposite direction, according to the researchers in the SNS Democracy Council 2023.
Touching at a Distance
(2023)
Studies the capacity of Shakespeare’s plays to touch and think about touchBased on plays from all major genres: Hamlet, The Tempest, Richard III, Much Ado About Nothing and Troilus and CressidaCentres on creative, close readings of Shakespeare’s plays, which aim to generate critical impulses for the 21st century readerBrings Shakespeare Studies into touch with philosophers and theoreticians from a range of disciplinary areas – continental philosophy, literary criticism, psychoanalysis, sociology, phenomenology, law, linguistics: Friedrich Nietzsche, Maurice Blanchot, Jacques Lacan, Luce Irigaray, Jacques Derrida, Roland Barthes, Niklas Luhmann, Hans Blumenberg, Carl Schmitt, J. L. AustinTheatre has a remarkable capacity: it touches from a distance. The audience is affected, despite their physical separation from the stage. The spectators are moved, even though the fictional world presented to them will never come into direct touch with their real lives. Shakespeare is clearly one of the master practitioners of theatrical touch. As the study shows, his exceptional dramaturgic talent is intrinsically connected with being one of the great thinkers of touch. His plays fathom the complexity and power of a fascinating notion – touch as a productive proximity that is characterised by unbridgeable distance – which philosophers like Friedrich Nietzsche, Maurice Blanchot, Jacques Derrida, Luce Irigaray and Jean-Luc Nancy have written about, centuries later. By playing with touch and its metatheatrical implications, Shakespeare raises questions that make his theatrical art point towards modernity: how are communities to form when traditional institutions begin to crumble? What happens to selfhood when time speeds up, when oneness and timeless truth can no longer serve as reliable foundations? What is the role and the capacity of language in a world that has lost its seemingly unshakeable belief and trust in meaning? How are we to conceive of the unthinkable extremes of human existence – birth and death – when the religious orthodoxy slowly ceases to give satisfactory explanations? Shakespeare’s theatre not only prompts these questions, but provides us with answers. They are all related to touch, and they are all theatrical at their core: they are argued and performed by the striking experience of theatre’s capacities to touch – at a distance
The Right to Research
(2023)
Refugees and displaced people rarely figure as historical actors, and almost never as historical narrators. We often assume a person residing in a refugee camp, lacking funding, training, social networks, and other material resources that enable the research and writing of academic history, cannot be a historian because a historian cannot be a person residing in a refugee camp.
The Right to Research disrupts this tautology by featuring nine works by refugee and host-community researchers from across Africa, Europe, and the Middle East. Identifying the intrinsic challenges of making space for diverse voices within a research framework and infrastructure that is inherently unequal, this edited volume offers a critical reflection on what history means, who narrates it, and what happens when those long excluded from authorship bring their knowledge and perspectives to bear. Chapters address topics such as education in Kakuma Refugee Camp, the political power of hip-hop in Rwanda, women migrants to Yemen, and the development of photojournalism in Kurdistan.
Exploring what it means to become a researcher, The Right to Research understands historical scholarship as an ongoing conversation - one in which we all have a right to participate.