A Humorous Melange ...


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Genres Mélange


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Genres Mlange: Humor, Word Play, Personae, Sonnets, Fiction, Memoirs, Interpretation contains writings in the seven different categories, five of which (apart from wordplay and personae) are definitely genres. Personae is unique; with Word Play, the author may be starting a trend. Each category contains respective elements of the other six. This work, a sequel to Edwards Humor and More, features the new genres of sonnets and fiction. Interpretation ranges from the scripture to Talmud to Shakespeare to Reva Spiro Luxenberg Levenson.




Genres Mélange Deuxième


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Genres Mlange DeuximeHumor, Word Play, Personae, Sonnets, Art, Fiction, Memoirs, Reconstructing Judaism, Reviews, Interpretation, Genealogy contains, besides Art, writings in ten different categories, at least six of which are clearly genres. Many categories contain respective elements of others. This work, a sequel to Edwards Humor and More and Genres Mlange, features the innovations of Prompt-Based Pieces (comprising exposition, fiction, and memoirs), Genealogy, and a Literary Memoir. The writings in the book range from Scripture to Talmud to Shakespeare to discussion about modern authors. The book features guest contributorswife Reva Spiro Luxenberg Levenson, brother Robert Levenson, daughter Aliza Levenson, sons Judah and Benjamin Levenson, friends Joe Bruno and Jack Cohen, and mentor Rabbi Sylvan Kamens.










The Satyricon: the Apocolocyntosis


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Perhaps the strangest - and most strikingly modern - work to survive from the ancient world, The Satyricon relates the hilarious mock epic adventures of the impotent Encolpius, and his struggle to regain virility. Here Petronius brilliantly brings to life the courtesans, legacy-hunters, pompous professors and dissolute priestesses of the age - and, above all, Trimalchio, the archetypal self-made millionaire whose pretentious vulgarity on an insanely grand scale makes him one of the great comic characters in literature. Seneca's The Apocolocyntosis, a malicious skit on 'the deification of Claudius the Clod', was designed by the author to ingratiate himself with Nero, who was Claudius' successor. Together, the two provide a powerful insight into a darkly fascinating period of Roman history.




A Club of Their Own


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Volume XXIX of Studies in Contemporary Jewry takes its title from a joke by Groucho Marx: "I don't want to belong to any club that will accept me as a member." The line encapsulates one of the most important characteristics of Jewish humor: the desire to buffer oneself from potentially unsafe or awkward situations, and thus to achieve social and emotional freedom. By studying the history and development of Jewish humor, the essays in this volume not only provide nuanced accounts of how Jewish humor can be described but also make a case for the importance of humor in studying any culture. A recent survey showed that about four in ten American Jews felt that "having a good sense of humor" was "an essential part of what being Jewish means to them," on a par with or exceeding caring for Israel, observing Jewish law, and eating traditional foods. As these essays show, Jewish humor has served many functions as a form of "insider" speech. It has been used to ridicule; to unite people in the face of their enemies; to challenge authority; to deride politics and politicians; in America, to ridicule conspicuous consumption; in Israel, to contrast expectations of political normalcy and bitter reality. However, much of contemporary Jewish humor is designed not only or even primarily as insider speech. Rather, it rewards all those who get the punch line. A Club of Their Own moves beyond general theorizing about the nature of Jewish humor by serving a smorgasbord of finely grained, historically situated, and contextualized interdisciplinary studies of humor and its consumption in Jewish life in the modern world.




Crossing Borders, Drawing Boundaries


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With growing anxiety about American identity fueling debates about the nation’s borders, ethnicities, and languages, Crossing Borders, Drawing Boundaries provides a timely and important rhetorical exploration of divisionary bounds that divide an Us from a Them. The concept of “border” calls for attention, and the authors in this collection respond by describing it, challenging it, confounding it, and, at times, erasing it. Motivating us to see anew the many lines that unite, divide, and define us, the essays in this volume highlight how discourse at borders and boundaries can create or thwart conditions for establishing identity and admitting difference. Each chapter analyzes how public discourse at the site of physical or metaphorical borders presents or confounds these conditions and, consequently, effective participation—a key criterion for a modern democracy. The settings are various, encompassing vast public spaces such as cities and areas within them; the rhetorical spaces of history books, museum displays, activist events, and media outlets; and the intimate settings of community and classroom conversations. Crossing Borders, Drawing Boundaries shows how rich communication can be when diverse cultures intersect and create new opportunities for human connection, even while different populations, cultures, age groups, and political parties adopt irreconcilable positions. It will be of interest to scholars in rhetoric and literacy studies and students in rhetorical analysis and public discourse. Contributors include Andrea Alden, Cori Brewster, Robert Brooke, Randolph Cauthen, Jennifer Clifton, Barbara Couture, Vanessa Cozza, Anita C. Hernández, Roberta J. Herter, Judy Holiday, Elenore Long, José A. Montelongo, Karen P. Peirce, Jonathan P. Rossing, Susan A. Schiller, Christopher Schroeder, Tricia C. Serviss, Mónica Torres, Kathryn Valentine, Victor Villanueva, and Patti Wojahn.




The Index


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The Satyricon and Seneca


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