David Friedrich Strauss était un théologien et écrivain allemand réputé pour son érudition révolutionnaire qui remettait en question l'exactitude historique des Évangiles. Son œuvre séminale analysait le Nouveau Testament, postulant que ses récits étaient largement mythiques plutôt que des comptes rendus factuels. Influencé par la philosophie hégélienne, Strauss était aux prises avec la tension entre la foi religieuse traditionnelle et le rationalisme moderne émergent. Bien que ses idées radicales l'aient conduit à quitter l'Église, son travail a fondamentalement remis en question les interprétations établies et a ouvert la voie aux études religieuses critiques.
The book presents a provocative examination of the gospels, questioning their historical accuracy through the lens of contemporary historical analysis. It explores the implications of applying modern methods to religious texts, challenging traditional beliefs and interpretations. Strauss' arguments have sparked significant debate, making this work a foundational text in the study of religious history and the critical analysis of scripture.
Exploring the intersection of photography and politics, this collection features David Levi Strauss's insightful essays drawn from various publications. He examines a range of topics, including the role of photography in propaganda, the power of dreams, and the impactful works of photographers like Sebastiao Salgado and Francesca Woodman. Notably, he addresses the complexities of photographic legitimacy and critiques media representation following September 11. Strauss's sharp observations provide clarity in an era dominated by pervasive imagery and chaos.
The book presents a provocative examination of the gospels, questioning their historical accuracy through the lens of modern historical analysis. It explores the implications of this challenge, pushing the boundaries of traditional religious scholarship and encouraging a re-evaluation of the texts' authenticity and significance. Strauss' work is a foundational piece in the discourse on the intersection of history and theology, inviting readers to reconsider the narratives that have shaped religious belief.
The book offers a multifaceted analysis of the Abu Ghraib scandal, featuring essays from notable progressive writers. Barbara Ehrenreich explores the feminist implications of the infamous images, while John Gray compares the Iraq situation to Vietnam. Meron Benvenisti discusses the effects of occupation on culture, and David Matlin critiques President Bush's dismissal of the images. Mark Danner highlights the emotional toll on victims and their families. Together, these perspectives deepen the understanding of the scandal and its lasting consequences.
This reprint of a historical book, originally published in 1873, is part of Anatiposi's initiative to preserve and make accessible older works. While the book may exhibit missing pages or lower quality due to its age, the focus is on maintaining its historical significance for public access and appreciation.
The long-awaited first retrospective of the Brazilian photographer Miguel Rio Branco.The deep, succulent color of Miguel Rio Branco's images reflects the richness and complexities of contemporary Latin America; Rio Branco has received wide acclaim for his projects on boxers, Brazilian children, and Cuba. Through his mastery of layering with both color and light, Rio Branco reveals hidden and forbidden segments of his surroundings, illuminating the unspoken and the instinctual. By focusing on the textures of fur and feathers, the flesh of slaughtered animals, or languid human bodies, he captures the cultural layers around him and provides a provocative vision of Latin America.Drawn from thirty years of work, these photographs display the talent for visual construction that Rio Branco utilized in his direction of more than twenty films. His remarkable conception of installation is a skill attributed to his formal training as a painter. The author, poet, and art commentator David Levi Strauss notes that "Rio Branco's colors seep out of their borders like bodily fluids, staining and contaminating everything around them. Bodies, bindings, wounds, and walls are wet with color. Even his mirrors bleed. Rio Branco's is an art of contamination, contagion, and corrosion, but also of resistance and transcendence."
This reprint of the original 1871 edition offers a detailed correspondence regarding the conflict between Germany and France. It provides historical insights and personal perspectives from the time, capturing the sentiments and experiences of individuals during the war. The letters serve as a valuable resource for understanding the complexities and impact of this significant historical event.
