Naissance de lart islamique offre une incursion agrave; travers le foisonnement artistique et culturel qui a preacute;ceacute;deacute; leacute;mergence de lart islamique aux VIIe et VIIIe siegrave;cles. Les Omeyyades ont unifieacute; culture meacute;diterraneacute;enne et culture persique en deacute;veloppant un langage artistique novateur qui integrave;gre et immortalise lheacute;ritage des peacute;riodes classique; byzantine et sassanide. Larchitecture eacute;leacute;gante des chacirc;teaux du deacute;sert; les fresques; les mosaiuml;ques et les chefs doelig;uvre dart figuratif et deacute;coratif eacute;voquent; aujourdhui comme hier; le reacute;alisme expressif et la vitaliteacute; exceptionnelle des centres sociaux et artistiques du califat omeyyade.Cinq circuits vous invitent agrave; deacute;couvrir 43 museacute;es; monuments et sites agrave; Amman; Madaba; Al-Badiya; Jerash; Om Quays; Aqaba et Humayama (entre autres).
#4098929 in eBooks 2015-06-06 2015-06-06File Name: B00Z2FCV46
Review
5 of 7 people found the following review helpful. The Culture Wars BeginBy Rob HardyIt is strange to read of the ancient Christological heresies like Arianism which held that somehow Jesus was more than mortal; but less than God; or Docetism; which held that Jesuss humanity was a mere illusion. They were not just controversies; they were often bloody; and we are lucky to be beyond such hairsplitting now. Except that we are not beyond them; really. There is a good deal of writing about how Jesus was tempted; and of course the Gospels describe that he indeed was. Naturally; there had to be some risk that he might give in; or it wasnt really a temptation. There are passages that show that he was tempted in every way; which includes being sexually tempted; but it was too much for many Christians that his sexual temptation was described in the 1951 novel _The Last Temptation of Christ_ by Nikos Kazantzakis; and it was worse when it was depicted in Martin Scorseses movie in 1988. In _Hollywood Under Siege: Martin Scorsese; the Religious Right; and the Culture Wars_ (The University Press of Kentucky); Thomas R. Lindlof; a professor in the School of Journalism and Telecommunications at the University of Kentucky; has given a detailed history of an important event in popular culture; religious thinking; and First Amendment philosophy. It was a real firestorm at the time; and it is surprising how naiuml;ve the filmmakers were about how much trouble the film might cause. The week the movie opened; Paul Schrader who wrote the initial screenplay found the director Martin Scorsese fretting over the protests and controversy. Schrader pointed out that Scorsese had intended to make a controversial film and had succeeded. "I know; I know;" came the reply; "but I didnt think it would be _this_ controversial."Scorsese had wanted to do a Jesus picture for years; and when he read Kazantzakiss novel; he knew he wanted to make a film of it. The Hollywood brass sitting around the table at a planning session probably could not have understood his answer when they asked why he wanted to make this particular picture: "Because I want to get to know Christ better;" came the utterly serious answer. It proved to be a difficult way to attain such knowledge. Lindlof details the problems in gaining rights to the novel; in coming up with draft scripts; and in dealing with the reactions of those who wanted Jesus shown straight from the Gospels only. Scorsese always said he was filming a novel; not the Bible; but even the idea of doing so stirred protest long before filming began. The movie was eventually taken up by Universal Studios; and Lindlof describes the filming in Morocco; including how Scorsese would provide the cast with articles from theology journals to have them consider their roles in depth. The biggest problem the protesters had was that they made the movie more popular. There were serious and dangerous physical assaults; with a gasoline bomb found on one theaters roof or an evangelical Christian ramming a bus through another theaters lobby. More often there were letters of death threats against members of the studio. In one town after another; though; the most visible manifestation of the protests were the pickets outside theaters; and the advanced teams sent from the studios were able to manipulate them so that they would make good photos for the newspapers. Lindlof doesnt mention it; but in Dayton; theater manager Larry Smith kept the protesters outside the Neon Movies warm and well fed with coffee and doughnuts; a small investment to keep up the free publicity.The film did fairly well financially; and Scorsese went on to direct movies like _Goodfellas_ and _Casino_; which for all their violence; repeated his themes of individuals forced to make moral choices. Lindlof has given us a parable of a simpler time; when the phrase "culture war" was just beginning to be used. Scorsese took into the battle sincerity and intelligence; and made a thoughtful and meaningful film (and; one assumes; one that let him know Christ better). Lindlofs account is detailed and even exciting. Different aspects of the battle between the religious right and Hollywood are still in play; but this episode from twenty years ago marked an important beginning.
