Insights, Ideas and Activities for exploring the lessons and wisdom of Jewish folktales. A step-by-step guide to creative use of The Adventures of Rabbi Harvey in the classroom. Each lesson includes: A clear summary of the story—its origins and what it can teach us A series of thought-provoking questions An engaging activity relating to the story’s theme or the art of storytelling This comprehensive teaching tool will help you guide students toward understanding the timeless lessons of traditional Jewish folktales and their relevance to our lives today.

Insights, Ideas and Activities for exploring the lessons and wisdom of Jewish folktales. A step-by-step guide to creative use of The Adventures of Rabbi Harvey in the classroom. Each lesson includes: A clear summary of the story—its origins and what it can teach us A series of thought-provoking questions An engaging activity relating to the story’s theme or the art of storytelling This comprehensive teaching tool will help you guide students toward understanding the timeless lessons of traditional Jewish folktales and their relevance to our lives today.

A new, revolutionary history of photography from a stellar team of writers and thinkers that challenges all existing narratives by focusing on the complex collaborations between photographer and subject. Led by five of the great thinkers and practitioners in photography, and including texts by over 100 writers, critics and academics, this groundbreaking publication presents a potential history of photography explored through the lens of collaboration, challenging the dominant narratives around photographic history and authorship. With more than 1,000 photographs, it breaks apart photography’s ‘single creator’ tradition by bringing to light tangible traces of collaboration – the various relationships, exchanges and interactions that occur between all participants in the making of any photograph. This collaboration takes different forms, including coercion and cooperation, friendship and exploitation, and expresses shared interests as well as competition, rivalry or antagonistic partnership. The conditions of collaboration are explored through 100 photography ‘projects’, divided into eight thematic chapters including ‘The Photographed Subject’, ‘The Author’ and ‘Potentializing Violence’. The result of years of research, Collaboration addresses key issues of gender, race and societal hierarchies and divisions and their role in forging identity and conformity. The photographs from each project are presented non-hierarchically alongside quotes, testimonies, and short texts by guest contributors. These networks of texts and images offer perspectives on a vast array of photographic themes, from Araki’s portraits of women to archival files from the Spanish Civil War. Each chapter is introduced by the editors, who provide the keys to understanding and decoding the complex politics of seeing.

Drawing on Australian and comparative case studies, this volume reconceptualises non-metropolitan creative economies through the 'qualities of place'. This book examines the agricultural and gastronomic cultures surrounding 'native' foods, coastal sculpture festivals, universities and regional communities, wine in regional Australia and Canada, the creative systems of the Hunter Valley, musicians in 'outback' settings, Fab Labs as alternatives to clusters, cinema and the cultivation of 'authentic' landscapes, and tensions between the 'representational' and 'non-representational' in the cultural economies of the Blue Mountains. What emerges is a picture of rural and regional places as more than the 'other' of metropolitan creative cities. Place itself is shown to embody affordances, unique institutional structures and the invisible threads that 'hold communities together'. If, in the wake of the publication of Florida's Rise of the Creative Class, creative industries models tended to emphasize 'big cities' and the spatial-cum-cultural imaginaries of the 'Global North', recent research and policy discourses - especially, in the Australian context - have paid greater attention to 'small cities', rural and remote creativity. This collection will be of interest to scholars, students and practitioners in creative industries, urban and regional studies, sociology, geography and cultural planning.

This edited collection analyzes the role of digital technology in contemporary society dialectically. While many authors, journalists, and commentators have argued that the internet and digital technologies will bring us democracy, equality, and freedom, digital culture often results in loss of privacy, misinformation, and exploitation. This collection challenges celebratory readings of digital technology by suggesting digital culture's potential is limited because of its fundamental relationship to oppressive social forces. The Dialectic of Digital Culture explores ways the digital realm challenges and reproduces power. The contributors provide innovative case studies of various phenomenon including #metoo, Etsy, mommy blogs, music streaming, sustainability, and net neutrality to reveal the reproduction of neoliberal cultural logics. In seemingly transformative digital spaces, these essays provide dialectical readings that challenge dominant narratives about technology and study specific aspects of digital culture that are often under explored. Check out the blog for more: http://blog.uta.edu/digitaldialectic

This book examines state efforts to shape the public memory of past atrocities in the service of nationalist politics. This political engagement with the 'duty to remember', and the question of historical memory and identity politics, began as an effort to confront denialism with regard to the Holocaust, but now extends well beyond that framework, and has become a contentious subject in many countries. In exploring the politics of memory laws, a topic that has been overlooked in the largely legal analyses surrounding this phenomenon, this volume traces the spread of memory laws from their origins in Western Europe to their adoption by countries around the world. The work illustrates how memory laws have become a widespread tool of governments with a nationalist, majoritarian outlook. Indeed, as this volume illustrates, in countries that move from pluralism to majoritarianism, memory laws serve as a warning - a precursor to increasingly repressive, nationalist inclinations.

Legal mechanisms for the management, development and protection of water resources have evolved over the years and have reached unprecedented levels of complexity and sophistication. This phenomenon is largely in response to the global community's sustainable development agenda, to the challenges and limitations imposed by climate variability, and to scientific and technological advances. Bringing together diverse experiences from across the world, this book analyses existing water law and governance solutions, their shortcomings, as well as developments and trends in the light of changing circumstances. The legal mechanisms examined range from international treaties, agreements and arrangements on cooperation over transboundary water resources, to the onset of novel issues arising out of technological advances, and from domestic regulation of water abstraction and groundwater management, to domestic regulation of the water industry. The articles in this book were originally published in the journal Water International, following the XIV and the XV World Water Congresses of the International Water Resources Association (IWRA), which were held in 2011 and in 2015, respectively. The chapters originally published in Water International.

In an era of rapid technological change, are qualitative researchers taking advantage of new and innovative ways to gather, analyse and share community narratives? Sharing Qualitative Research presents innovative methods for harnessing creative storytelling methodologies and technologies that help to inspire and transform readers and future research. In exploring a range of collaborative and original social research approaches to addressing social problems, this text grapples with the difficulties of working with communities. It also offers strategies for working ethically with narratives, while also challenging traditional, narrower definitions of what constitutes communities. The book is unique in its cross-disciplinary spectrum, community narratives focus and showcase of arts-based and emerging digital technologies for working with communities. A timely collection, it will be of interest to interdisciplinary researchers, undergraduate and postgraduate students and practitioners in fields including anthropology, ethnography, cultural studies, community arts, literary studies, social work, health and education.

Drawing on Australian and comparative case studies, this volume reconceptualises non-metropolitan creative economies through the 'qualities of place'. This book examines the agricultural and gastronomic cultures surrounding 'native' foods, coastal sculpture festivals, universities and regional communities, wine in regional Australia and Canada, the creative systems of the Hunter Valley, musicians in 'outback' settings, Fab Labs as alternatives to clusters, cinema and the cultivation of 'authentic' landscapes, and tensions between the 'representational' and 'non-representational' in the cultural economies of the Blue Mountains. What emerges is a picture of rural and regional places as more than the 'other' of metropolitan creative cities. Place itself is shown to embody affordances, unique institutional structures and the invisible threads that 'hold communities together'. If, in the wake of the publication of Florida's Rise of the Creative Class, creative industries models tended to emphasize 'big cities' and the spatial-cum-cultural imaginaries of the 'Global North', recent research and policy discourses - especially, in the Australian context - have paid greater attention to 'small cities', rural and remote creativity. This collection will be of interest to scholars, students and practitioners in creative industries, urban and regional studies, sociology, geography and cultural planning.

An argument that anyone can pursue political agency and resistance through photography, even those with flawed or nonexistent citizenship. In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone-even a stateless person-who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography. Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women-from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship? Drawing on such key texts in the history of modern citizenship as the Declaration of the Rights of Man together with relevant work by Giorgio Agamben, Jean-Francois Lyotard, Susan Sontag, and Roland Barthes, Azoulay explores the visual field of catastrophe, injustice, and suffering in our time. Her book is essential reading for anyone seeking to understand the disasters of recent history-and the consequences of how these events and their victims have been represented.

Since the start of the occupation of Palestinian territories in 1967, Israel's domination of the Palestinians has deprived an entire population of any political status or protection. But even decades on, most people speak of this rule-both in everyday political discussion and in legal and academic debates-as temporary, as a state of affairs incidental and external to the Israeli regime. In The One-State Condition, Ariella Azoulay and Adi Ophir directly challenge this belief. Looking closely at the history and contemporary formation of the ruling apparatus-the technologies and operations of the Israeli army, the General Security Services, and the legal system imposed in the Occupied Territories-Azoulay and Ophir outline the one-state condition of Israel/Palestine: the grounding principle of Israeli governance is the perpetuation of differential rule over populations of differing status. Israeli citizenship is shaped through the active denial of Palestinian citizenship and civil rights. Though many Israelis, on both political right and left, agree that the occupation constitutes a problem for Israeli democracy, few ultimately admit that Israel is no democracy or question the very structure of the Israeli regime itself. Too frequently ignored are the lasting effects of the deceptive denial of the events of 1948 and 1967, and the ways in which the resulting occupation has reinforced the sweeping militarization and recent racialization of Israeli society. Azoulay and Ophir show that acknowledgment of the one-state condition is not only a prerequisite for considering a one- or two-state solution; it is a prerequisite for advancing new ideas to move beyond the trap of this false dilemma.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.

Since the start of the occupation of Palestinian territories in 1967, Israel's domination of the Palestinians has deprived an entire population of any political status or protection. But even decades on, most people speak of this ruleOCoboth in everyday political discussion and in legal and academic debatesOCoas temporary, as a state of affairs incidental and external to the Israeli regime. In "The One-State Condition," Ariella Azoulay and Adi Ophir directly challenge this belief.
Looking closely at the history and contemporary formation of the ruling apparatusOCothe technologies and operations of the Israeli army, the General Security Services, and the legal system imposed in the Occupied TerritoriesOCoAzoulay and Ophir outline the one-state condition of Israel/Palestine: the grounding principle of Israeli governance is the perpetuation of differential rule over populations of differing status. Israeli citizenship is shaped through the active denial of Palestinian citizenship and civil rights.
Though many Israelis, on both political right and left, agree that the occupation constitutes a problem for Israeli democracy, few ultimately admit that Israel is no democracy or question the very structure of the Israeli regime itself. Too frequently ignored are the lasting effects of the deceptive denial of the events of 1948 and 1967, and the ways in which the resulting occupation has reinforced the sweeping militarization and recent racialization of Israeli society. Azoulay and Ophir show that acknowledgment of the one-state "condition" is not only a prerequisite for considering a one- or two-state "solution"; it is a prerequisite for advancing new ideas to move beyond the trap of this false dilemma."

In this theoretical tour-de-force, renowned scholar Ariella Aisha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasised the possibility of progress while trying to destroy what came before, and voraciously sought out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practising what she calls potential history, Azoulay argues that we can still refuse the imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas to the Congo ruled by Belgium's brutal King Leopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions - an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums - to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as "past" and making the repair of torn worlds the substance of politics.

In an era of rapid technological change, are qualitative researchers taking advantage of new and innovative ways to gather, analyse and share community narratives? Sharing Qualitative Research presents innovative methods for harnessing creative storytelling methodologies and technologies that help to inspire and transform readers and future research. In exploring a range of collaborative and original social research approaches to addressing social problems, this text grapples with the difficulties of working with communities. It also offers strategies for working ethically with narratives, while also challenging traditional, narrower definitions of what constitutes communities. The book is unique in its cross-disciplinary spectrum, community narratives focus and showcase of arts-based and emerging digital technologies for working with communities. A timely collection, it will be of interest to interdisciplinary researchers, undergraduate and postgraduate students and practitioners in fields including anthropology, ethnography, cultural studies, community arts, literary studies, social work, health and education.

This edited collection analyzes the role of digital technology in contemporary society dialectically. While many authors, journalists, and commentators have argued that the internet and digital technologies will bring us democracy, equality, and freedom, digital culture often results in loss of privacy, misinformation, and exploitation. This collection challenges celebratory readings of digital technology by suggesting digital culture's potential is limited because of its fundamental relationship to oppressive social forces. The Dialectic of Digital Culture explores ways the digital realm challenges and reproduces power. The contributors provide innovative case studies of various phenomenon including #metoo, Etsy, mommy blogs, music streaming, sustainability, and net neutrality to reveal the reproduction of neoliberal cultural logics. In seemingly transformative digital spaces, these essays provide dialectical readings that challenge dominant narratives about technology and study specific aspects of digital culture that are often under explored.

Ariela Abramovich Sef gives a personal testimony and a family saga played out against a background of some of the most momentous historical events of the 20th century. Ariela brings these events to life as she narrates her gripping stories of survival in the Ghetto, growing up in the Soviet Union during the Cold War and Thaw period, migrating to the West and her adventures in Paris. With remarkable courage she also coped with congenital heart disease, prevailing and living life to the full.

"Newtopia: The State of Human Rights" looks at human rights through the work of 70 international contemporary artists. Many of these artists come from countries or regions where human rights has been or is a particularly pressing issue, such as the Arab World, China, India, Latin America, South Africa and Russia. Much more than a straightforward exhibition catalogue, "Newtopia" is composed of three sections. The first part assesses the current state of the human rights debate in essays and philosophical reflections; the second collects contributions by various international human rights activists, in which gripping testimonies and historical reconstructions alternate with socio-political analyses; and the third reproduces a selection of artworks. Among the artists included are Hans Haacke, Taryn Simon, Kendell Geers, Taysir Batniji, Alejandro Cesarco, Pablo Picasso, Andy Warhol, Woloo, Nikita Kadan, Pia Ronike, Kostis Velonis, Zhou Zixi, Ai Weiwei, Marina Abramovic, Wilchar, Simon Starling, Boniface Mwongi and An-my Le.

Legal mechanisms for the management, development and protection of water resources have evolved over the years and have reached unprecedented levels of complexity and sophistication. This phenomenon is largely in response to the global community's sustainable development agenda, to the challenges and limitations imposed by climate variability, and to scientific and technological advances. Bringing together diverse experiences from across the world, this book analyses existing water law and governance solutions, their shortcomings, as well as developments and trends in the light of changing circumstances. The legal mechanisms examined range from international treaties, agreements and arrangements on cooperation over transboundary water resources, to the onset of novel issues arising out of technological advances, and from domestic regulation of water abstraction and groundwater management, to domestic regulation of the water industry. The articles in this book were originally published in the journal Water International, following the XIV and the XV World Water Congresses of the International Water Resources Association (IWRA), which were held in 2011 and in 2015, respectively. The chapters originally published in Water International.

Ariela Abramovich Sef gives a personal testimony and a family saga played out against a background of some of the most momentous historical events of the 20th century. Ariela brings these events to life as she narrates her gripping stories of survival in the Ghetto, growing up in the Soviet Union during the Cold War and Thaw period, migrating to the West and her adventures in Paris. With remarkable courage she also coped with congenital heart disease, prevailing and living life to the full.

Using the theme of Currency to invite reflection on the contemporary power of the photograph to relay and relate meaning across distance, the Triennial of Photography Hamburg explores the value of photography in the 21st century. The extension of this economic term to art and visual culture allows for a sustained engagement with photography and its relationship to value-making, canon-making, access, circulation, and knowledge production. At a time when the production, distribution, and consumption of photographic images has become ubiquitous and we have learned to structure our contemporary world through a lens, the digital image has become the currency of exchange on social platforms. Fostering interdisciplinary dialogue, the Critical Reader Lucid Knowledge: The Currency of the Photographic Image gathers international perspectives that reflect on how photography shapes today's narratives, as well as our perception and experience of the world.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.