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The most violent American and European anti-Semites in the 21st century, including not only Jihadists but also white (and black) supremacist terrorist, made some reference to religion in their hatred of Jews. This is surprising. Religious antisemitism is often seen as a relic of the past. It is more associated with pre-modern societies where the role of religion was central to social and political order. However, at the end of the 19th century, animosity against Judaism gave way to nationalistic and racist motives. People, such as Wilhelm Marr, called themselves anti-Semites to distinguish themselves from those who despised Jews for religious reasons. Since then, antisemitism has gone through many mutations. However, today, it is not only the actions of extremely violent anti-Semites who might be an indication that religious antisemitism has come back in new forms. Some churches have been accused of disseminating antisemitic arguments related to ideas of replacement theology in modernized forms and applied to the Jewish State. Others, from the populist nationalist right, seem to use Christianity as an identity marker and thus exclude Jews (and Muslims) from the nation. Do religious motifs play a significant role in the resurgence of antisemitism in the 21st century?

Kenneth Grahame

PD-US

This is an OCR edition with typos. Excerpt from book: A HOLIDAY THE masterful wind was up and out, shouting and chasing, the lord of the morning. Poplars swayed and tossed with a roaring swish; dead leaves sprang aloft, and whirled into space; and all the clear-swept heaven seemed to thrill with sound like a great harp. It was one of the first awakenings of the year. The earth stretched herself, smiling in her sleep; and everything leapt and pulsed to the stir of the giant's movement. With us it was a whole holiday; the occasion a birthday ? it matters not whose. Some one of us had had presents, and pretty conventional speeches, and had glowed with that sense of heroism which is no less sweet that nothing has been done to deserve it. But the holiday was for all, the rapture of awakening Nature for all, the various outdoor joys of puddles and sun and hedge breaking for all. Colt-like I ran through the meadows, frisking happy heels in the face of Nature laughing responsive. Above, the sky was bluest of the blue; wide pools left by the winter's floods flashed the colour back, true and brilliant; and the soft air thrilled with the germinating touch that seems to kindle something in my own small person as well as in the rash primrose already lurking in sheltered haunts. Out into the brimming sun-bathed world I sped, free of lessons, free of discipline and correction, for one day at least. My legs ran of themselves, and though I heard my name called faint and shrill behind, there was no stopping for me. It was only Harold, I concluded, and his legs, though shorter than mine, were good for a longer spurt than this. Then I heard it called again, but this time more faintly, with a pathetic break in the middle; and I pulled up short, recognising Charlotte's plaintive note. She panted up anon, and dropped on the turf beside me. Neithe...

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This open access book offers an innovative account of how relief organizations’ visual depiction of Syrian displacement contributes to reproduce and reinforce a securitized account of refugees. Through visual analysis, the book demonstrates how the securitization process takes place in three different ways. First of all, even if marginally, it occurs through the reproduction of mainstream media and political accounts that have depicted refugees in terms of threats. Secondly, and more consistently, through a representation of Syrian displaced people that, despite the undeniable innovative aesthetic patterns focusing on dignity and empowerment, continue to reinforce a visual narrative around refugees in terms of victimhood and passivity. The reproduction of a securitized account takes also place through the dialectic between what is made visible in the pictures and what is not. At the same time the book identifies visual glimmers and minor displacements in the humanitarian discourse that have the potentiality to produce alternative discourses on refugees and displacement beyond the mainstream securitized ones. By showing how relief organizations’ visual representation contributes to the securitization of the refugee issue, this book provides a great resource to students and academics in migration, visuality, humanitarianism and securitization, as well as social scientists and policy-makers.

Reks

Wilkie Collins

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The Woman in White, by Wilkie Collins, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. One of the greatest mystery thrillers ever written, Wilkie Collins’s The Woman in White was a phenomenal bestseller in the 1860s, achieving even greater success than works by Dickens, Collins’s friend and mentor. Full of surprise, intrigue, and suspense, this vastly entertaining novel continues to enthrall readers today. The story begins with an eerie midnight encounter between artist Walter Hartright and a ghostly woman dressed all in white who seems desperate to share a dark secret. The next day Hartright, engaged as a drawing master to the beautiful Laura Fairlie and her half sister, tells his pupils about the strange events of the previous evening. Determined to learn all they can about the mysterious woman in white, the three soon find themselves drawn into a chilling vortex of crime, poison, kidnapping, and international intrigue. Masterfully constructed, The Woman in White is dominated by two of the finest creations in all Victorian fiction—Marion Halcombe, dark, mannish, yet irresistibly fascinating, and Count Fosco, the sinister and flamboyant “Napoleon of Crime.” Camille Cauti earned a Ph.D. in English from Columbia University. Her dissertation concerns the Catholic conversion trend among the London avant-garde of the 1890s. She has also published articles in Italian-American studies. She works in New York City as an editor and critic.