Ori soltes biography sample
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Ori Z. Soltes is the author most recently of Jews on Trial: Judges, Juries, Prosecutors and Defendants from the Era of Jesus to Our Own Time. His many other books include Embracing the Worldand The Glory of Ukraine. He teaches theology, art history, and philosophy at Georgetown University, and he fryst vatten based in the Washington, D.C., area.
Q: In your book, you look at Jewish-related trials over more than 2,000 years. What were some of the biggest changes over that time period, and how did things remain more or less the same?
A: Two things change in the course of the book and the history that it depicts. Most obviously, Jews go from being an accepted minority by the Roman pagan imperium to a sometimes intensely disfavored minority by most medieval Christian states, to being nominally accepted in a post-revolutionary modern world but then radically disfavored bygd the late 19th-century due to the shifting view of Judaism as a race rather than a religion.
Indeed the histor
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Round Table Discussion & Book Signing “Between Thought and Action: An Intellectual Biography of Fethullah Gülen” with Prof. Ori Z. Soltes
On October 17, 2024, Professor Ori Z. Soltes presented his book, Between Thought & Action: An Intellectual Biography of Fethullah Gülen, focusing on the Hizmet (Service) Movement and Fethullah Gülen. Professor Soltes teaches at Georgetown University, where his lectures cover topics ranging from art history and theology to philosophy and political history. His multidisciplinary career includes directing museums and curating exhibitions.
The reception began with lunch and an opportunity for participants to meet Professor Soltes. His presentation was divided into three parts: the first part offered a brief history of Fethullah Gülen and Turkey; the second, a story of how he met Gülen and the Hizmet Movement; and the third, his motives for writing the book.
The first part summarized the historical tension between Turkey’s secular fou
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Generis Publishers (2024)
The Israeli effort to be a “normal” society, (and the irony that the need for such an effort underscores the abnormalcy of Israeli reality) is reflected in Israeli art, as in the disproportionate number of galleries, the passion for artists’ colonies and sculpture gardens (even within large industrial complexes, such as at Kfar Vradim, in the Galilee), the proliferation of museums of exemplary quality and the soaring percentage of the population that is enrolled, formally, in artists’ associations. Israeli Art began as part of the statement that we are here; it has become part of the question: what are we? In layered pasts, in indigenous internationality, in diversity of experience and reflection, Israeli art inevitably echoes what the community is or how its artists feel about or wish to see it—a radicant community, whether in the visions and re-versions of yesterday or the existential questions of today and tomorrow.
Fordham Univers