Documents found
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612.More information
This paper examines the rise of antisemitism in contemporary Canada and explores some emerging social trends that may exacerbate and enable it. Specifically, the rise and maintenance of antisemitism in Canada may be, in part, due to the multifaceted diversification of the West known as super-diversity, as well as increasing political polarization. By examining super-diversity and its implications, this paper explores the connections between immigration and diversification, the growth of political polarization, and the rise in antisemitism across Canada. This paper argues how the aforementioned social trends may lead to the existence of more antisemitic manifestations and motivations in Canada. Of particular concern is the importation of certain anti-Israel and anti-Zionist biases found within populations arriving in Canada and coming from parts of the world where tensions with Israel are present. Additionally, political polarization heightens intergroup tensions in Canada and may foster a broader atmosphere of prejudice.
Keywords: antisemitism in Canada, social trends, super-diversity, immigration, political polarization
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613.More information
The chapter describes Madeleine Lucette Ferraille, who later changed her name to Ruth Ben David/Blau, during World War Two in France. When the war broke, Lucette was married to a handsome French soldier and gave him a son, but she wanted more out of life than was within easy reach—more, indeed, than the Vichy regime encouraged. By 1943, she was divorced, with a BA from the University of Toulouse. That year, she also helped a female Jewish refugee escape deportation and certain death. Recruited by the Resistance in early 1944, Lucette, who was beautiful as well as brilliant, made her way into the heart of the local Gestapo by becoming the mistress of a Waffen-SS officer, continuing to spy on the Nazi headquarters just a few months before D-Day.
Keywords: Ruth Blau, World War II France, Madeleine Lucette Ferraille, Resistance
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614.More information
This paper examines the genre of films being produced by Orthodox Jewish women and intended to be viewed only by other women [i.e., Orthodox Jewish women] as a key form of “sensational" religious materiality and a counter-counterpublic sphere of religious action. Religious materiality is all that makes religious sentiment, knowledge, and practice knowable; it is the “stuff” of religious life and belief. These films present “sensational forms” of religious materiality, or, in other words, experiences that “induce religious modes of sensing, feeling, and making sense that effect the very ‘beyond’ that is posited and form the people addressed as believers” to audiences (Meyer 2015). Focusing on religious films as a key form of and forum for sensational religious materiality moves away from not only a Protestant-style bias focused on the role of interior belief and disregard for “entertainment” media, but also a simple “religion and [+] media” instrumentalist approach. Further, films produced by and for Orthodox Jewish women, while broadly part of the religious counterpublic media of Orthodox Jewry, are further located in a gendered location; the films are thus productively described as located in a counter [read: religious]- counterpublic [read: gendered] sphere of Orthodoxy.
Keywords: Jewish women, Hasidism, film, religious mediation, sensational materiality
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616.More information
Keywords: Haviva Ner-David, Nidah in Jewish law, Mikveh in Judaism
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617.More information
Pietro Marcello’s film Martin Eden (2019) was received by critics and the public alike as an innovative approach to adaptation, launching a marginal director of socially engaged documentaries onto the international cinema scene. In this essay, I discuss the political implications of a film that scrambles temporal and spatial references in its reprisal of Jack London’s 1909 eponymous classic, transposing its setting from San Francisco to Naples and expanding its historical reach from a main temporality going from the 1910s to the early 1980s. I argue that Marcello uses the posthuman sensibilities allowed by writing, recording, and filming techniques to reveal the transtemporal nature of class struggle. As a successful writer, Martin Eden finally understands that what the ruling classes cannot tolerate is not only economic but also intellectual and artistic emancipation.
Keywords: Jack London, cinematic adaptation, transtemporality, posthuman subject, recording technology, archival footage, cinematic memory, artistic emancipation
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620.More information
This article investigates one of the most important and erotically explicit early modern Spanish texts: Fernando de Rojas’s La Celestina (1499/1507). Highlighting the dynamics of the three sex acts depicted in the plot, it argues that intercourse can be read as a negotiation of the text’s main values: (courtly) love, honour, and money. While scholars have elaborated on the metaphor of the wheel of fortune in La Celestina, this article suggests that the wheel was more than a trope for life’s vicissitudes; it operated as a structural tool in the text, a metaphor rendered material via Ramón Llull’s (ca. 1232–1315) ars combinatoria. Applying the Catalan philosopher’s mnemonic device demonstrates how the text’s values are transferred from men to women and thereby shift their semantics. While the resulting inversions must have amused contemporary audiences, they also reveal the tensions of a transforming society.