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Britain's Chief Rabbis were attempting to respond to the new religious climate, and deployed a variety of tactics to achieve their aims. This book presents a radical new interpretation of Britain's Chief Rabbis from Nathan Adler to Immanuel Jakobovits. It examines the theologies of the Chief Rabbis and seeks to reveal and explain their impact on the religious life of Anglo-Jewry. The book begins with the study of Nathan Marcus Adler, Chief Rabbi from 1845, and it then explores how in 1880 Hermann Adler became Delegate Chief Rabbi on his father's semi-retirement to Brighton. In the pre-modern era, and for a while after, rabbis saw themselves and were seen as the heirs of the rabbinic tradition, whose role first and foremost was to rule on matters of religious law. The book argues that the Chief Rabbis' response to modernity should be viewed in the context of Jewish religious responses that emerged following the Enlightenment and Emancipation. It sketches out a possible typology of those responses, so that Chief Rabbis can be placed in that context. Chief Rabbis were members of the acknowledgement school, which contained a number of different theological currents: romantic, scientific, aesthetic and nostalgic. Hermann Adler was the Chief Rabbi during his time, and his religious policies were to a great extent motivated by his religious ideas. Joseph Herman Hertz's theology placed him in the traditional group within the acknowledgement school, although he was influenced by its scientific, romantic and aesthetic branches.

Abstract only
Chris Beasley and Heather Brook

: 42). Return of hyperpatriotism (‘new’ patriotism) in Conglomerate Hollywood The end of the 1990s saw the emergence of a wave of salutary combat films about the past (Saving Private Ryan, 1998; The Patriot, 2000; Pearl Harbor, 2001). Setting the drama in historical conflicts – especially World War II – enabled easy engagement with a time when the American national identity was seen as untarnished. This nostalgic approach intensified with the rollback of critical accounts of nation and war after 11 September 2001. As noted earlier in this chapter, in November 2001 a

in The cultural politics of contemporary Hollywood film
Hyangjin Lee

world. Through the imaginative participation in the fictional world, they try to grapple with their immediate concerns and find a meaning in their given circumstances. This explains why historical films are believed to offer a key to the self-perception of contemporary Koreans. As will be shown below, a nostalgic approach to filial duty, family honour and traditional marriage in the films tells us about the society’s need for these

in Contemporary Korean cinema