RCAAP Repository

Tolerance that means, from its Latin root tolerare, to endure something that another person does to us, is one of some words that, nowadays, seem to be free of suspicion, but these words are related to the generalized exercise of “the good conscience”. It is therefore a word that conceals the cynicism of power and hides the intensity of inequality in all of its possible reaches and forms. The story may serve to help us understand why some beliefs and social customs have remained and continue to exist. The purpose of this article is to reflect on the background of anti-Semitism and on how, since its conception, it has endured. The so called Elected People or People of the Book cease to be a group supposedly chosen by God and become an entity seen as “the murderer of God” and the ally of the Devil.

The story may help to understand why some beliefs and social behaviors stay and continue to be. The purpose of this article is to reflect on the early anti Jewish prejudice and on how, by its conception, was developed its duration. The so called Elected People or People of the Book is no longer a group allegedly chosen by God, but starts to be conceived as the “murderer of God” and ally of the Devil.

Uma árvore é como um homem

Uma árvore, uma cidade

Mesmose Jerusalémfosse apenaso perfumeexóticodo Machané Iehuda;

As mulheres,impacientes,queremretornar à casa,ao lar.

Resenha a: GOLDHAGEN, Daniel Jonah. Worse than war: genocide, eliminationism, and the ongoing assault on humanity. New York: Little Brown, 2009. 658p.  

Resenha a: ROZSAS, Jeanette. Kafka e a marca do corvo: romance biográfico sobre a vida e o tempo de Franz Kafka. São Paulo: Geração Editorial, 2009.  

Resenha a: LEVI, Primo. A chave estrela. Trad. Maurício Santana Dias. São Paulo: Companhia das Letras, 2009.

Resenha a: MIRANDA, Ana. Desmundo. São Paulo: Companhia das Letras, 2003. 216p.

Resenha a: ROTH, Philip. Entre nós: um escritor e seus colegas falam de trabalho. Trad. Paulo Henriques Britto. São Paulo: Companhia das Letras, 2008. 176p.  

Hebron 2, Cidadela dos Patriarcas.

Hebron 1, Aldeia no deserto de Judá

Terra

The Animation Art displays, as the basis of the constitution, the radical styling of the universe that serves as a reference. This stylization, however, does not occur disconnected from material reference of reality, the referential, as in cartoons, is still present and its deformation denounces an ideologically formative process. Modern animation, globalized and democratized in the stream of technological progress, is not free of these ideological aspects. Thus modern animation produced in Israel, crowned by the various international awards granted to the animated film "Waltz with Bashir" (Vals im Bashir, 2008) directed by Ari Folman, play the crucial problem of styling in representation of the historic catastrophe compounded by guilt complex; its generates a need for ideological realism complaint that ultimately cancel the symbolic value of animation as aesthetic art, converted to a partial chronicle about a much more complex reality.

In reference to Israel’s history, I stand out the work presented in the book published in name of Gilad Schalit, an Israeli soldier, still missing after being kidnapped in 2006 by the Palestine group Hamas. The book brings a tale written by Schalit when he was eleven years old, in which, by a metaphoric way, he approaches the matter of understanding between the odds, between the strongest and the weakest. The book has illustrations created by Israeli illustrators, and has been useful as an instrument for the debate and artistic creation among children about the theme it carries. Both creations, from Itzhak Belfer and Gilad Schalit, although they seem to handle distinct matters, complete themselves, and have the educational transforming function of alerting society of the dangers of intolerance and conduct society to search alternative ways towards tolerance and understanding among mankind.

The novel Mr. Mani, by A. B. Yehoshua, is evaluated because of its experimental content, the audacity with which it treats some themes swept under the rug by the previous generation, and most importantly, because it addresses the participation of Sephardim in the formation of the State of Israel.

The objective of this article is the demystification of the idea that, during the Holocaust, the Jewish people marched towards death “like lambs to sacrifice”, without offering any resistance to its own extermination. Result of a superficial analysis, this equivocated and prejudiced notion does not consider the multifaceted context of that moment. Beyond that, the intention here is to identify “other places” where the resistance was effectively possible, places where men and women carried on actions of resistance in the face of the attempts of the system in transforming them in non-humans.

Based on the semiotic analysis of an episode of the documentary Shoah (Lanzmann, 1985), the present text deals with a problem related to the indexical action of signs in it. What is the nature of a film which attempts to reconstruct meticulously the time of unimaginable horror based on the testimonies of survivors, but which sometimes uses staged, fictional indexes? This is precisely what takes place in one of the most evoked and moving moments in the over nine hour-long documentary Shoah. The aim of this article is to reflect systematically on the semiotic characteristics of a film genre which has a historical calling but which differs overtly from the traditional historical discourse.

This article aims to analyze critically the book of José Lins do Rego, Roteiro de Israel, 1955. It seeks to detach two supplemental aspects: a poetic view and ethical-political concerns took by the writer about the construction of the new State of Israel. It is also observed, there, the relation between the signs of modernity and archaic Jewish stories. For this, the concept of palimpsest, Gerard Genette, and flâneur, Walter Benjamin is used.