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1. |
Record Nr. |
UNINA9910787917603321 |
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Autore |
Adler Leo |
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Titolo |
The Biblical view of man / / Leo Adler ; translated from the German by Daniel R. Schwartz ; foreword by Shimon Gesundheit |
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Pubbl/distr/stampa |
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Jerusalem, Israel : , : Urim Publications, , 2015 |
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©2015 |
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ISBN |
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965-7108-96-9 |
965-524-179-3 |
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Descrizione fisica |
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1 online resource (145 p.) |
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Disciplina |
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Soggetti |
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Theological anthropology - Biblical teaching |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di contenuto |
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Front Cover; Title Page; Half Title; Copyright; Dedication; Contents; Shimon Gesundheit, Foreword to English Edition; Daniel R. Schwartz, Translator's Preface; Author's Foreword; Introduction: On the Nature of the Biblical Message; Chapter I. The Rational; Psychology versus Philosophy; Interpreting Dualistic Man; Freedom - The Basis of the Biblical Message; Justice (zedek and mishpat); Love (zedakah); The Kingdom of God; Chapter II. The New Self; Humility; Fear of God; Chapter III. The Transcendent; Holiness; Chapter IV. The Transformed View of Man in Apocryphal Literature |
Chapter V. On Early Judaism's Rejection of Ancient PhilosophyAppendix 1: A Jewish Interpretation of Christmas?; Appendix 2: Adler and Heschel on Theology and Anthropology; About the Author |
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Sommario/riassunto |
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The Biblical View of Man argues cogently that the Bible is more about human beings than about God and insists that, in the biblical view, what human beings need is not so much wisdom or grace but rather their own free will to fulfill the obligations that a loving God has bestowed upon them in order to allow them to prove and improve themselves. According to Rabbi Leo Adler, the exercise of such free will, rather than implying a lack of need for God, actually requires a firm commitment to God. First published in German in 1965, this engaging interpretation of the Bible appears in English for th |
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2. |
Record Nr. |
UNINA9910967223503321 |
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Autore |
Lindenfeld Laura |
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Titolo |
Feasting Our Eyes : Food Films and Cultural Identity in the United States / / Laura Lindenfeld and Fabio Parasecoli |
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Pubbl/distr/stampa |
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La Vergne, New York : , : Columbia University Press, , 2017 |
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©2017 |
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ISBN |
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Descrizione fisica |
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1 online resource (278 pages) : illustrations, photographs |
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Classificazione |
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Disciplina |
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Soggetti |
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Food in motion pictures |
Motion pictures - United States - History |
Food - Social aspects - United States |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Introduction -- 1. Food Films and Consumption: Selling Big Night -- 2. Autonomy in the Kitchen? Food Films and Post feminism -- 3. Magical Food, Luscious Bodies -- 4. Culinary Comfort: Th e Satiating Construction of Masculinity -- 5. When Weirdos Stir the Pot: Cooking Identity in Animated Movies -- 6. Consuming the Other: Food Films as Culinary Tourism -- Conclusion -- Notes -- Bibliography -- Index |
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Sommario/riassunto |
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Big Night (1996), Ratatouille (2007), and Julie and Julia (2009) are more than films about food-they serve a political purpose. In the kitchen, around the table, and in the dining room, these films use cooking and eating to explore such themes as ideological pluralism, ethnic and racial acceptance, gender equality, and class flexibility-but not as progressively as you might think. Feasting Our Eyes takes a second look at these and other modern American food films to emphasize their conventional approaches to nation, gender, race, sexuality, and social status. Devoured visually and emotionally, these films are particularly effective defenders of the status quo.Feasting Our Eyes looks at Hollywood films and independent cinema, documentaries and docufictions, from the 1990s to today and frankly assesses their commitment to racial diversity, tolerance, and liberal political ideas. |
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Laura Lindenfeld and Fabio Parasecoli find women and people of color continue to be treated as objects of consumption even in these modern works and, despite their progressive veneer, American food films often mask a conservative politics that makes commercial success more likely. A major force in mainstream entertainment, American food films shape our sense of who belongs, who has a voice, and who has opportunities in American society. They facilitate the virtual consumption of traditional notions of identity and citizenship, reworking and reinforcing ingrained ideas of power. |
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