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AbstractIn France, is it an offense to pretend someone's comments are antiamerican ? This is the question the author of this paper intends to answer. To do so, he analyzes Jean-Paul Sartre's play La putain respectueuse (The Respectful Prostitute) and the outcry started by its first representations in November 1946. The author also questions the particularly brutal kind of relationship Sartre's theater, in its will to commitment, establishes with its audience.
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For nearly two thousand years, the Smyrneans and Philadelphians that the book of Revelation describes (2:9 ; 3:9) as “false Judeans” and as making up a “synagogue of Satan” have been taken to be “Jews,” members of the “synagogues” located in those cities, who were hostile to local “Christians,” to the point of denouncing them to the authorities. In the second half of the twentieth century, in a context in which Christian anti-Semitism was increasingly recognized and critiqued, many argued that these “Jews” were in fact members of the communities addressed by John, belonging to factions hostile to his message. In this paper, I will argue that the people whom John accuses of being blaspheming and false Judeans were members of the Judean ethnos who were seen by John — himself a Judean sectarian — as having become defiled through their integration into the social and professional fabric of the city. From this point of view, the “synagogue of Satan” is not to be seen as a real Judean community, but rather as the pure creation of John, a prophet of Jesus the Living One who did not know that later generations would consider him a “Christian.” Thus John does not intend to demonize all the Judeans in these two cities ; rather, his invective is directed at some Judeans, whom he sees as betraying the commandments and, hence, their own Jewish identity.
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This article explores Sam Garbarski's 2007 film Irina Palm. Suffering from a mortal disease, Ollie's only chance at survival is a very expensive treatment that his family cannot afford. In order to save her grandson's life, Maggie gets a job in a sex shop where, hidden behind a wall, she masturbates customers. Pretty soon, clients stand in line fantasizing about Irina Palm, a mysterious woman and her soft hands. Though this experience could be lived as one of moral decay, it becomes, on the contrary, an opportunity for moral perfectionism. By taking care of both others and her work, Maggie regains sex appeal and frees herself for the first time in her life. As an actress, Marianne Faithfull, also gives women a lesson on ageing. This movie handles the work of the care, as well as domestic and sexual work in a continuum, in the lineage of another film, the mythical Jeanne Dielman (1975), from the Belgian director Chantal Akerman.
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