A Jew Among Romans: The Life and Legacy of Flavius Josephus by Frederic Raphael PDF

By Frederic Raphael

ISBN-10: 0307378160

ISBN-13: 9780307378163

From the acclaimed biographer, screenwriter, and novelist Frederic Raphael, here's an audacious heritage of Josephus (37–c.100), the Jewish basic grew to become Roman historian, whose emblematic betrayal is a touchstone for the Jew by myself within the Gentile world.
Joseph ben Mattathias’s transformation into Titus Flavius Josephus, historian to the Roman emperor Vespasian, is a gripping and dramatic tale. His lifestyles, within the fingers of Frederic Raphael, turns into some extent of departure for an appraisal of Diasporan Jews looking a spot within the dominant cultures they inhabit. Raphael brings a scholar’s rigor, a historian’s point of view, and a novelist’s mind's eye to this undertaking. He is going past the interesting information of Josephus’s existence and his singular literary achievements to envision how Josephus has been seen by way of posterity, discovering in him the prototype for the un-Jewish Jew, the assimilated highbrow, and the abiding apostate: the recurrent figures within the lengthy centuries of the Diaspora. Raphael’s insightful photos of  Yehuda Halevi, Baruch Spinoza, Karl Kraus, Benjamin Disraeli, Ludwig Wittgenstein, and Hannah Arendt expand and remove darkness from the Josephean worldview Raphael so eloquently lays out.

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Vendeuil Caply, large theatre of gallo-roman type. End of 1st cent. ad; rebuilt end of 2nd cent. ad. Cavea, orchestra, and scene building, looking north 60. Augusta Rauricorum (Augst, Switzerland), second theatre of gallo-roman type. Probably ad 140–50. View of cavea looking north-east 61. Aventicum (Avenches, Switzerland), gallo-roman theatre. End of 1st cent. ad. General view looking south 62. Lenzburg, Switzerland, gallo-roman theatre. Flavian, inaugurated c. ad 100. View of cavea looking west 63.

73 In the Zea theatre at Piraeus the front row of seats was numbered with letters running from right to left alphabetically. 75 In addition one seat was engraved with a sickle and another with a dagger. 68 M. Bieber, The History of the Greek and Roman Theater (Princeton, 1961), 246–7. 69 B. Gabriaevib, in D. ), Antiaki Teatar na tlu Jugoslavije (Novi Sad, 1981), 67–71; 71–2 (French summary); 147–52; 152–3 (French summary). 70 For the tickets from Jerusalem, see A. Segal, Theatres in Roman Palestine and Provincia Arabia (Leiden, New York, Cologne, 1995), 4 n.

For the Zea theatre tickets, see I. N. Svoronos, JIAN I (1896), 37; 8 (1905), 323. 71 O. Broneer, Corinth, x: The Odeum (Cambridge, 1932), 141. 72 AEpigr. (1934), 253. Hermes, 77 (1942), 181. 73 74 CIL 10. 8143–4. I. Dragatsis, Arch. Eph. (1884), 195–8. 75 D. Evangelides, Prakt (1958), 230–2. theatre and audience seats of honour In the eastern provinces it was common to set aside seats of honour on the central axis of the theatre. The origin of this feature is to be sought in the Hellenistic period and was presumably a product of the ruler cult.

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A Jew Among Romans: The Life and Legacy of Flavius Josephus by Frederic Raphael

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