The Golem in German Social Theory provides an innovative and bold interpretation of German social theory. Authors Yair and Soyer argue that German scholars have been continually preoccupied with ancient, religiously-based myths that criticize the ideals of the enlightenment, exemplified by the 16th-century narrative of the Golem rising over its master.

صدر عن المركز العربي للأبحاث ودراسة السياسات كتاب الاستعارة في علم اجتماع ماكس فيبر وزيغمونت باومان، وهو من تأليف عبد القادر مرزاق. يبحث الكتاب في ظاهرة الاستعارة قديمًا وحديثًا، وآراء العلماء فيها، والتحديات التي قابلتها أو طرحتها، ومدى التغير الذي طرأ على النظرة إليها من لدن أرسطو حتى العصر الحديث. يقع الكتاب في 448 صفحة، شاملةً ببليوغرافيا وفهرسًا عامًّا.

'Crafting humans' – and its corollary human enhancement – is a contested topic, both in medical sciences and the humanities. With continuing advances in science and technology, scientists and the general public alike are aware that the basic foundations of the human condition are now at stake. This volume contributes to this growing body of work. It offers insights into some of the reflections and imaginaries that have inspired and legitimated both theoretical and practical programmes for 'crafting' humans, ranging from the religious/spiritualist and the philosophical/cultural to the secular and the scientific/scientistic; from the religious and mystical quest for human perfection to the biopolitical eugenic state of the twentieth century, and current theories of human enhancement. This volume discusses these topics in a synchronized way, as interrelated variants of the most central story in history, that of human perfectibility.

Finalist for the 2020 Jordan Schnitzer Book Award in the category of Jews and the Arts: Music, Performance, and Visual presented by the Association for Jewish Studies Possessed Voices tells the intriguing story of a largely unknown collection of audio recordings, which preserve performances of modernist interwar Hebrew plays. Ruthie Abeliovich focuses on four recordings: a 1931 recording of The Eternal Jew (1919/1923), a 1965 recording of The Dybbuk (1922), a 1961 radio play of The Golem (1925), and a 1952 radio play of Yaakov and Rachel (1928). Abeliovich traces the spoken language of modernist Hebrew theater as grounded in multiple modalities of expressive practices, including spoken Hebrew, Jewish liturgical sensibilities supplemented by Yiddish intonation and other vernacular accents, and in relation to prevalent theatrical forms. The book shows how these recorded performances provided Jewish immigrants from Europe with a venue for lamenting the decline of their home communities and for connecting their memories to the present. Analyzing sonic material against the backdrop of its artistic, cultural, and ideological contexts, Abeliovich develops a critical framework for the study of sound as a discipline in its own right in theater scholarship.

Pierre Bourdieu: The Last Musketeer of the French Revolution argues that Bourdieu appointed himself as the representative of the French people and acted as its National Assembly. In that capacity, he set himself to work with the charter of the preamble toThe Declaration of the Rights of Man and the Citizen to remind the members of the social body of their rights and obligations; to monitor the legislative and executive powers and compare them with the Republican purposes of ideal political and social agendas decreed by the revolutionaries of 1789; and, overall, to maintain the tenets of the French constitution. In that sense, like d'Artagnan in Dumas'The Three Musketeers, Bourdieu took it upon himself to be the fighter for true France, namely the keeper of the Republican tradition of the French Revolution. Bourdieu's entire oeuvre was indeed motivated by the failed promise of the French Revolution and by the demise of its most noble ideals. His passionate analyses--of educational stratification, cultural production and consumption, gender relations, the social structure of the economy, and the effects of globalization--were always carried out with the moral benchmark of the revolution in mind. Bourdieu was indeed passionately tied to the values of the French Revolution, notably to liberty and meritocracy, to social equality and to the democratization and universalization of government. But wherever he looked, he saw those values betrayed by the very people who argued for their implementation, and by the governmental bodies which were devised in order to guarantee their effectiveness. Committed to the values of the Declaration, he was constantly frustrated by the betrayals of universalization by the Fifth Republic.

Traces the history of the golem legend and its appropriations in German texts and film as well as in post-Holocaust Jewish-American fiction, comics, graphic novels, and television. First mentioned in the Book of Psalms in the Hebrew Bible, the golem is a character in an astonishing number of post-Holocaust Jewish-American novels and has served as inspiration for such varied figures as Mary Shelley’s monster in her novel Frankenstein, a frightening character in the television series The X-Files, and comic book figures such as Superman and the Hulk. In The Golem Redux: From Prague to Post-Holocaust Fiction, author Elizabeth R. Baer introduces readers to these varied representations of the golem and traces the history of the golem legend across modern pre- and post-Holocaust culture. In five chapters, The Golem Redux examines the different purposes for which the golem has been used in literature and what makes the golem the ultimate text and intertext for modern Jewish writers. Baer begins by introducing several early manifestations of the golem legend, including texts from the third and fourth centuries and from the medieval period; Prague’s golem legend, which is attributed to the Maharal, Rabbi Judah Loew; the history of the Josefov, the Jewish ghetto in Prague, the site of the golem legend; and versions of the legend by Yudl Rosenberg and Chayim Bloch, which informed and influenced modern intertexts. In the chapters that follow, Baer traces the golem first in pre-Holocaust Austrian and German literature and film and later in post-Holocaust American literature and popular culture, arguing that the golem has been deployed very differently in these two contexts. Where prewar German and Austrian contexts used the golem as a signifier of Jewish otherness to underscore growing anti-Semitic cultural feelings, post-Holocaust American texts use the golem to depict the historical tragedy of the Holocaust and to imagine alternatives to it. In this section, Baer explores traditional retellings by Isaac Bashevis Singer and Elie Wiesel, the considerable legacy of the golem in comics, Michael Chabon’s The Amazing Adventures of Kavalier and Clay, and, finally, "Golems to the Rescue" in twentieth- and twenty-first-century works of film and literature, including those by Cynthia Ozick, Thane Rosenbaum, and Daniel Handler. By placing the Holocaust at the center of her discussion, Baer illustrates how the golem works as a self-conscious intertextual character who affirms the value of imagination and story in Jewish tradition. Students and teachers of Jewish literature and cultural history, film studies, and graphic novels will appreciate Baer’s pioneering and thought-provoking volume.