Sublime

Certainly the task of cutting is critical: the mid-twentieth century, for example, experienced the depth of horror that can be produced when nations fantasize their ancestry in the past. But no amount of cutting can eliminate the historian’s need to generalize, that is, to create connections and continuities between nonidentical things. And cutting

It is true that the characters in the Merchant make greater claims to sympathy and humanity than those in its influential predecessor, Christopher Marlowe’s Jew of Malta (ca. 1589), in which not only the title character, but Christian and Muslim protagonists as well, are cynical distillations of villainy. But these claims are just one symptom of a

The Seminar announced to its public that the real Jesus was innocent of the wicked apocalypticism with which so many Christians, not least in the conservative American churches against which American academics react so strongly, had for so long associated him.

Hyperconnectivity in the cultural realm promises abundance, decommodification and democratization. Everyone has at their fingertips an infinitely rich and varieduniverse of cultural products. New cultural forms and innovative practices have proliferated. Much digital culture is freely shared rather than bought and sold. And ever-expanding circles o