The future Temple, that we anticipate, Will descend intact from Heaven, As alluded to by the verse [Exodus 15:17] The sanctuary, my Lord, that Your hand established. —Rashi, on Tractate Sukkah, 41A, Talmud Bavli A small sanctuary did indeed descend
The Looming Absence of the Temple
to rather bombastic melodies. But careful analysis of them and their background brings a more nuanced and satisfying reading. Most of what we know – or think we know – about how psalms were used in the Temple is derived from rabbinic texts redacted
debates, and provided the basis for numerous halachic rulings by contemporary authorities. This article will examine Rabbi Goren’s perspective on the question of entering the Temple Mount area in our times. For many centuries, since the destruction of the
The Status of the Temple in Jewish Culture Following Its Destruction
Almost 2,000 years after its destruction, the Jerusalem Temple remains present in the Jews' imagination and imagery. The Temple is remembered in Jewish tradition as a place of unity, utmost purity and holiness, an intersection between the divine and the human, between Jew and Jew, between the vertical and the horizontal. Generations of Jews have prayed to be able to behold the restoration of the Temple but have not been privileged to witness it. Nevertheless, it shaped their language and encapsulated their hopes for redemption. The Temple was the essence to which all other practices were compared; after its destruction, the Temple itself became the measure of many contemporary rabbinic practices. This article surveys the different ways the Jews kept the symbolism of the Temple and embedded it in their lives. It also examines the contemporary state of affairs – what was viewed in the past as an almost imaginary messianic hope, is now on the agenda of some right-wing groups who wish to hasten rebuilding of a Temple on the Temple Mount.
A Comparative View
The holy site known to Jews as the Temple Mount and to Muslims as Haram al-Sharif or al-Aqsa is central to both the Jewish and Palestinian Arab national movements. As such, it is important to plumb the roots of the role it plays for them, and to
Capture and Excess
Developing Deleuze and Guattari's concepts of territorialization and the apparatus of capture, this article explores the role that Sri Lankan Hindu temples have played in the formation of ethnicity and ethnic conflict. Analyzing three contemporary events, the article introduces ways in which many different Sri Lankans (Sinhalese and Tamil) interpret their country's predicament and seek to resolve or prolong it. The events also reveal how scholarship becomes entangled in ethnic nationalism. I then examine in greater detail a village in which temple construction was a critical feature of identity formation during the creation of Sri Lanka as a colonialist and capitalist bureaucratic space. Through this account, I argue that the formation of polarized ethnicity in Sri Lanka is the product of multiple refractive forces, of which temples are one, and not the end result of a singular colonialist bureaucratic agency.
Robert O. Freedman
The issue of control over the Temple Mount/Haram al Sharif is perhaps the most difficult of all the issues in the Israeli-Palestinian conflict to solve. After presenting an analysis of the history of the conflict over the site—holy to both Jews and Moslems—this article argues that only the internationalization of the Temple Mount/Haram al Sharif, an idea first suggested by David Ben-Gurion in 1937, will remove the issue as an element in the Israel-Palestinian and Arab-Israeli conflicts. Otherwise, "holier than thou" politics, particularly in the Arab world, will keep the conflict alive.
Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist
Walter S. Temple
Our starting point is the idea that Hergé sets up a series of reciprocal links between two of his albums, Les 7 Boules de cristal and Le Temple du Soleil. Over and above simple narrative succession, these two albums fit together like two wings of a diptych across which visual, semiotic and even symbolic elements echo each other. In order to appreciate these fully, the diptych has to be considered from the perspective of a 'rereading', in other words from a standpoint that enables a particular panel or situation to be regarded as a flash forward or flashback. The tracking of this back-and-forth motion seeks to reveal the artistic profundity of Hergé's narrative, where anticipations of later elements or reminders of earlier ones either serve to intensify the dramatic build-up, or, conversely, work to parodic effect (through a distancing impression of 'déjà vu'). These echoes have cumulative effects that contribute to the overall 'intelligence' of the work. Hence our title: 'Figurations and Prefigurations in Hergé's Work, or from Les 7 Boules de cristal to Le Temple du Soleil and Back Again'.
Josh Morrison, Sylvie Bissonnette, Karen J. Renner, and Walter S. Temple
Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)