Revolution In Paradise

The era of the German Occupation of France constituted, surprisingly, a golden age for the arts: literature, theater, popular music and cinema. These works of art seem to be devoid of political impact. The widespread trend of unrealistic and fantastic art during this period is explained by some scholars as the artists escape from the omnipotent eye of German censorship. The purpose of the book is to show that, contrary to the accepted view, some of these films were intimately linked to the political situation. They convey the demonization of characters that, while not specifically presented as Jews nevertheless manifested anti-Semitic stereotypes of the Jew as ugly, rootless, low, hypocritical, immoral, cruel and power hungry. All five movies analysed (Les Inconnus dans la maison, dir. Henri Decoin, 1942; Les Visiteurs du Soir, dir. Marcel Carne, 1942; L'Eternel retour, dir. Jean Delannoy, 1943; Les Enfants du Paradis, dir. Marcel Carne, 1943) present characters not identified as Jews but who exhibit negative Jewish traits, in contrast to the aristocratic characters whom they aspire to emulate. They demonstrate, implicitly, central themes of explicit anti-Semitic propaganda. Yehuda Moraly addresses two current major misconceptions regarding the Cinema of Occupied France: (1) that the accepted view that there were almost no explicitly Jewish characters in the cinema of that time and place is patently incorrect; and (2) that the feature films of Occupied France were not as it is commonly thought free of the propaganda messages that permeated the press, the radio and documentary films. Analysis of these films brings out the contradictory nature of European anti-Semitism. On one hand, the Jew is the anti-Christ, throttling the world with disgusting materialism while on the other hand, he is representative of an ancestral stifling morality, which it is time to abolish.

Combines a detailed social analysis of club militants with a "new cultural history" perspective.

This volume brings John Milton's Paradise Lost into dialogue with the challenges of cosmology and the world of Galileo, whom Milton met and admired: a universe encompassing space travel, an earth that participates vibrantly in the cosmic dance, and stars that are "world[s] / Of destined habitation." Milton's bold depiction of our universe as merely a small part of a larger multiverse allows the removal of hell from the center of the earth to a location in the primordial abyss. In this wide-ranging work, Dennis Danielson lucidly unfolds early modern cosmological debates, engaging not only Galileo but also Copernicus, Tycho, Kepler, and the English Copernicans, thus placing Milton at a rich crossroads of epic poetry and the history of science.

At nightfall on June 22, 1965, a soldier walked in from the outskirts of a small town in the Dominican Republic and reported that he had just shot and killed two policemen and an outspoken Canadian Catholic priest. It was the opening scene in a mystery that, forty years later, compels J.B. MacKinnon, a nephew of the murdered missionary, to investigate what many believe was a carefully plotted assassination. MacKinnon’s search takes him to corners of the country that are far from the paradise seen by millions of tourist visitors. He meets with former revolutionaries, shadowy generals who live in hiding and the struggling Dominicans for whom the dead priest is a martyr, perhaps even a saint. Dead Man in Paradise is a true story with the suspense of a classic mystery novel, the immediacy of reportage and the insight of a travelogue. More than any of these, it is a personal examination of one of the gravest challenges of our times: finding a balance between our longing to hold the guilty to account for their crimes and the deep human need to forgive.

Shortlisted for the Lionel Gelber Prize Finalist for the PEN/John Kenneth Galbraith Award for Nonfiction The drama that shaped today's Iran, from the Revolution to the present day In 1979, seemingly overnight, Iran became the first revolutionary theocracy in modern times. Since then, the country has been largely a black box to the West, a sinister presence on the world stage. But inside Iran, a breathtaking drama has unfolded as religious thinkers, political operatives, poets, journalists, and activists have imagined and reimagined what Iran should be. They have drawn as deeply on the traditions of the West as on the East and have acted upon their beliefs with urgency and passion, frequently staking their lives for them. With more than a decade of experience reporting on, researching, and writing about Iran, Laura Secor narrates this unprecedented history as a story of individuals caught up in the slipstream of their time, seizing and wielding ideas powerful enough to shift their country's course as they wrestle with Iran's apparatus of violent repression as well as its rich and often tragic history. Essential reading at this moment when the world has never been more entwined, Children of Paradise will stand as a classic of political reporting, an indelible portrait of a nation and its people striving for change.

Captain Benjamin Nyman Vizcarra, son of the wealthiest man in Mexico, has everything a young man could want. But in the days leading up to the Mexican Revolution of 1910, he finds himself questioning whether he can support the old regime--and more and more distracted by his brother's bewitching fiancee, Isabel. Accused and convicted of his father's murder after a fateful late-night encounter, Benjamin relives the events that led to his imprisonment. As he plots escape, a new question begins to form: will he run, or will he stay to confront his mistakes and win back the woman he loves? -- back cover.

Paradise from behind the Iron Curtain provides a detailed survey of the key responses to Milton’s work in Hungarian state socialism. The four decades between 1948 and 1989 saw a radical revision of previous critical and artistic positions and resulted in the emergence of some characteristically Eastern European responses to Milton’s works. Critical and artistic appraisals of Milton’s works in the communist era proved more controversial than receptions of other major Western authors: on the one hand, Milton’s participation in the Civil War earned him the title of a ‘revolutionary hero,’ on the other hand, religious aspects of his works were often disregarded and sometimes proactively suppressed. Ranging through all the genres of Milton’s oeuvre as well as the critical tradition, the book highlights these diverging responses and places them in the wider context of socialist cultural policy. In addition, the author presents the full Hungarian script of the 1970 theatrical performance of Milton’s Paradise Lost, the first of its kind since the work’s publication, including a parallel English translation, which enables a deeper reflection on Milton’s original theodicy and its possible interpretations in communist Hungary.