The edition contains the translations of works of eleven Jewish writers from the Eastern Europe of the second half of the neneteenth and twentieth centuries, such as Isaac Leib Peretz, Sholom Aleichem, Janusz Korczak, Shmuel Yosef Agnon, Bruno Schulz, Isaac Babel, Itzik Kipnis, Itzik Manger, Isaac Bashevis Singer, Debora Vogel, and Abraham Sutzkever. The Jewish prose in the book is rather diverse in its nature in terms of genre and style characteristics. That is since it ranges from traditional educational plots that include distinctive parable features, to the examples of the European literature of the ‘stream of consciousness’ based on lavish metaphors, and alliterations that combine the history with modernity, the old with the new, as well as undermine the rigidity of canonical topics and masterfully lead readers to themselves, which is the most fascinating destination. (more…)
Tehillim (David’s Psalms) is one of the first books of the First Testament, which is an essential part of religious service in Jewish and Christian traditions. The book consists of 150 psalms with the commentary on daily life occurrences, feelings, and emotions familiar to everyone regardless of religious belief. Rabbi Samson Raphael Hirsch was born in Hamburg in 1808. He was the first to combine the Jewish tradition with the ideas of secularism and became one of the most profound commentators of the Biblical texts in the world. His writings are addressed not only to the Biblical scientists but also to those who question the basis of faith or even who has lost it. The edition contains the texts of psalms and detailed commentary by Rabbi Samson Raphael Hirsch as well as reference materials such as an index of names from the Tanakh and the Bible, a glossary, and a bibliography. (more…)
This is an anthology of texts currently difficult to access by thirty-four representatives of the Ukrainian avant-garde: artists who acted as critics and scholars; art critics who acted as analysts and conceptualists; poets and writers who acted as creators and analysts of contemporary art forms. It offers thematic, personal, and ideological diversity of views on the creative “ordering” of art form in the Ukrainian visual art of the 1910–30s. The reader can plunge into the whirlpool of creative controversies, struggle of ambitions and settlement of approaches, a kaleidoscope of multidirectional search for artistic truth and solitude in the social inevitability of historical events. (more…)
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Genocide: A Comprehensive Introduction is the most wide-ranging textbook on genocide yet published. The book is designed as a text for upper-undergraduate and graduate students, as well as a primer for non-specialists and general readers interested in learning about one of humanity’s enduring blights.
Fully updated to reflect the latest thinking in this rapidly developing field, this unique book:
- Provides an introduction to genocide as both a historical phenomenon and an analytical-legal concept, including the concept of genocidal intent, and the dynamism and contingency of genocidal processes.
- Discusses the role of state-building, imperialism, war, and social revolution in fuelling genocide.
- Supplies a wide range of full-length case studies of genocides worldwide, each with a supplementary study.
- Explores perspectives on genocide from the social sciences, including psychology, sociology, anthropology, political science/international relations, and gender studies.
- Considers “The Future of Genocide,” with attention to historical memory and genocide denial; initiatives for truth, justice, and redress; and strategies of intervention and prevention.
Written in clear and lively prose with over 240 illustrations and maps, Genocide: A Comprehensive Introduction remains the indispensable text for new generations of genocide study and scholarship. (more…)
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Turning over the pages of the twentieth-century cultural history of Odesa, the author analyzes the frontier identity that developed in this peculiar city. The first part analyzes the general processes that defined the cultural face of Odessa, while the second one presents the portraits of prominent artists, Vladimir Zhabotinsky, Pyotr Leshchenko, Mykhailo Zhuk, Borys Necherda, and Borys Khersonsky. Each of them originally embodied the image of the seaside city in its different identity and invariable charm. And if these figures are forgotten today, then we have a good opportunity to know and evaluate them more deeply, at the same time rethinking the phenomenon of twentieth-century Odesa.
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