Four Four Jew

Four Four Jew is a major exhibition by Jewish Museum London exploring the story of football and Jews in Britain from the turn of the century to the present day. It brings together previously unseen material from private and public collections across the UK to tell the story of the clubs, the players, the Chairmen, the fans, and the 'religion' that is the beautiful game. This publication to accompany the exhibition features illustrated highlights together with newly commissioned articles by leading writers and historians.

John Meier's previous volumes in the acclaimed series A Marginal Jew are founded upon the notion that while solid historical information about Jesus is quite limited, people of different faiths can nevertheless arrive at a consensus on fundamental historical facts of his life. In this eagerly anticipated fourth volume in the series, Meier approaches a fresh topic-the teachings of the historical Jesus concerning Mosaic Law and morality-with the same rigor, thoroughness, accuracy, and insightfulness on display in his earlier works.

Four men -- Four wives -- One angel (by Paul Klee) -- Four Jews -- Benjamin's grip.

"Drawn from Memory" is an important contribution to Moroccan studies, to the field of anthropology, and to academic approaches to biography. Rosen weaves the threads of his narrative together into a tapestry focused on the lives of four men: a raconteur, a teacher, an entrepreneur, and a cloth dealer, a Jew. Ordinary people have intellectual lives, Rosen tells us. They may never have written a book; they may never even have read one. But their lives are rich in ideas, constantly fashioned and revised, elaborated and rearranged. Rosen first encountered the four men he profiles in his book in the course of his academic research, and he then visited and revisited these men, and the towns in which they live, over several decades. He engaged them ina kind of continuous conversation. He spoke to members of their family, their neighbors, and the town people. Out of this wealth of material, he has constructed a narrative that takes the reader not only into four intensely observed individual lives but also, as it were, the history of Morocco s evolution across the span of many decades; he takes the reader not only into the outwardly lived lives of his subjects, but their innermost thoughts, their own perceptions of themselves and the evolving Moroccan world around them. At the same time, he manages to evoke the physical landscape, the towns in which these men live, marvelously well, so that the towns and their inhabitants come alive for the reader. Beautifully illustrated with archival and ethnographic photos, "Drawn from Memory" teaches us that that for Moroccans, and by extension Muslims in general, nothing in everyday social life is hard and fast, and the meaning and outcome of all interactions is the product of negotiation and relatedness."

In writing in English about the classical era, is it more appropriate to refer to “Jews” or to “Judeans”? What difference does it make? Today, many scholars consider “Judeans” the more authentic term, and “Jews” and “Judaism” merely anachronisms. In Judeans and Jews, Daniel R. Schwartz argues that we need both terms in order to reflect the dichotomy between the tendencies of those, whether in Judea or in the Disapora, whose identity was based on the state and the land (Judeans), and those whose identity was based on a religion and culture (Jews). Presenting the Second Temple era as an age of transition between a territorial past and an exilic and religious future, Judeans and Jews not only sharpens our understanding of this important era but also sheds important light on the revolution in Jewish identity caused by the creation of the modern state of Israel.