Pirke de-Rabbi Eliezer represents a late development in "midrash", or classical rabbinic interpretation, that has enlightened, intrigued and frustrated scholars of Jewish culture for the past two centuries. Pirke de-Rabbi Eliezer's challenge to scholarship includes such issues as the work's authorship and authenticity, an asymmetrical literary structure as well as its ambiguous relationship with a variety of rabbinic, Islamic and Hellenistic works of interpretation. This cluster of issues has contributed to the confusion about the work's structure, origins and identity. Midrash and Multiplicity addresses the problems raised by this equivocal work, and uses Pirke de-Rabbi Eliezer in order to assess the nature of "midrash", and the renewal of Jewish interpretive culture, during its transition to the medieval era of the early "Geonim".

"We lay there without moving. But under us all moved, and moved us." - Krapp Samuel Beckett's most accessible play is also one of the twentieth century's most moving dramas about aging, memory, and disappointment. Daniel Sack offers the first comprehensive survey of Krapp's Last Tape (1958) with a general reader in mind. Structured around a series of questions, five approachable sections contextualize the play in the larger career of its Nobel-Prize-winning writer, explore its major thematic concerns, and offer comparative analyses with Beckett's other signal works. Sack also uses discussions of significant productions, including those directed by the playwright himself, to ground interpretation of the play in terms of its performance and provide a useful resource to directors and actors. Both a critical and personal exploration of this haunting play, this volume is a must-read for anyone with an interest in Beckett's work.

Imagined Theatres collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre. Each scenario is mirrored by a brief accompanying reflection, asking what they might mean for our thinking about the theatre. These many possible worlds circle around questions that include: In what way is writing itself a performance? How do we understand the relationship between real performances that engender imaginary reflections and imaginary conceptions that form the basis for real theatrical productions? Are we not always imagining theatres when we read or even when we sit in the theatre, watching whatever event we imagine we are seeing?

Imagined Theatres collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre. Each scenario is mirrored by a brief accompanying reflection, asking what they might mean for our thinking about the theatre. These many possible worlds circle around questions that include: In what way is writing itself a performance? How do we understand the relationship between real performances that engender imaginary reflections and imaginary conceptions that form the basis for real theatrical productions? Are we not always imagining theatres when we read or even when we sit in the theatre, watching whatever event we imagine we are seeing?

Americans love to eat. They are also deeply religious. So it’s no surprise that food has an important place in the religious lives of Americans.. They eat in worship services. They drink coffeein church basements. They feed neighbors and strangers in the name of their god. For countless American Protestants, food and church are inseparable. From dry cookies and punch at coffee hour to potlucks and spaghetti dinners, Whitebread Protestants looks at the role food plays in the daily life of white mainline Protestant congregations.

"We lay there without moving. But under us all moved, and moved us." - Krapp Samuel Beckett's most accessible play is also one of the twentieth century's most moving dramas about aging, memory, and disappointment. Daniel Sack offers the first comprehensive survey of Krapp's Last Tape (1958) with a general reader in mind. Structured around a series of questions, five approachable sections contextualize the play in the larger career of its Nobel-Prize-winning writer, explore its major thematic concerns, and offer comparative analyses with Beckett's other signal works. Sack also uses discussions of significant productions, including those directed by the playwright himself, to ground interpretation of the play in terms of its performance and provide a useful resource to directors and actors. Both a critical and personal exploration of this haunting play, this volume is a must-read for anyone with an interest in Beckett's work.