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Dear Amir I just wish to God the Lord for your love and help that you are showing towards God's people, for giving us updates about Bible prophecy ,to always remind us to always stay close to the Lord and be alway rooted in God's word and to always busy doing God Father business! We luv you and May God continue to bless you and your ministry! God bless Israel! Shalom! From the Philippines! Celia Ong
I am an American Jew with deep Zionist roots who has become increasingly disappointed with an Israeli government held hostage by fundamentalists whose smug conviction in their rectitude created no sense to me. This book was a true eye-opener providing true insights, facts and a powerful warning. These loonies are living on the largess of both diaspora Jews and the US government. We are allowing them to destroy a state that could, indeed, be a light unto nations (read Start-up Nation). Instead we obtain a country that is increasingly unable to talk with their neighbors and which will eventually alienate most of their friends. Their willingness, even avidity, for Armegeddon is more than unnerving. This is a must read for anyone who is a mate of Israel without being foolishly blind to her faults.
I found this a fast history how Israel got to be how they are today. He provides the important political significance of happenings and intentions of the different players. The views of different Israelis was there from the beginning. He emphasizes that the government did not plan for it to be this way. They simply did not or were not able to prevent things playing out as they did.A disturbing newer dynamic is the re-importing of West Bank displacement of Arabs into Arab locations of Israel proper. From an Arab point of view it is not extreme to see that super nationalists have been successfully waging battle versus them since the ople have commented on the disconnect between the pessimism of the book except for the latest chapter. That was my impression. But also note that the latest violent murderous history of Europe seemed without solution too. Miracles (non-religious in my view) do happen.
As outsiders, it is not often that we obtain an insider's view of the political and religious complexities within Israel. Gershom Gorenberg gives us such a look as he writes based on interviews, observations, and research into the historical background that has led to the current state of affairs in Israel/Palestine. Without portrayals such as this, we Americans are led to see Israel through the lens of the famous media, which tends to idealize its democracy. Gershom's analysis provides helpful insights into the complicated dynamics within Israel that create conflict resolution so difficult. For a summary of these internal incongruities see the review, "Excellent insight into the mix of religion and politics within Israel". How you choose to view these realities may well depend on your own background, but you cannot read this book without coming away with a better understanding of Israel in the context of its surrounding geographical challenges. I give it a five for being an engaging read that provided fresh insights into the complexities of the region and for proposing steps forward that are outside the box of current famous thinking in the U.S.
Can't say enough about this read! Simple to understand the history of Israel, mainly for the latest Century during the "right of return" to the Holy Land that Jews have been in for 3,000 years! Explains the case for Israel, the bigotry, anti-semitism, and one sided Globe opinion, unfairly levied towards the Jewish State. Also info how terror groups have consistantly walked away from at least 3 various peace proposals, (one of which Saudi Prince Bandar even told Arafat that refusing it would amount to a criminal offense). Arafat walked away for more terror instead, because they do NOT wish peace, at the expense of recognizing Israel's right to exist! Amazing read!
A must read by anyone seeking the truth about the Israeli-Palestinian history and conflict. I noticed a lot of one-star reviews, mostly from people who have never read the book, not by verified purchasers of the book. And therein lies the problem. People who blindly believe people like Arafat or Chomsky without studying the actual history and series of happenings will be duped by false narratives. You owe it to yourself to read this book in to engage in smart debate.
It's an ok guidebook and in my opinion the best I could search but I still had to do a lot of research on my own to search museums, sites, and activities that I was interested in. I didnt like that the Temple mount in Jerusalem was referred to in arabic and English but not hebrew in a hebrew - speaking country.
This is an necessary book for anyone who cares about Israel. The author, Gershom Gorenberg, is an orthodox Jew and a Zionist who lives in Israel. His point is that for the first time, Israel faces an existential crisis from a particular subset of its own people, namely the ultra-orthodox Haredi Jews who believe that Israel is fundamentally a religious enterprise and not a democratic state. He gives extensive examples of how Haredi settlers have broken Israeli law to take over Arab lands and how the settlement movement is fundamentally at odds with Israel's founding principles as well as with current Israeli law. He also points out that if allowed to continue, the settlements will prevent any hope of a two state solution, condemning Israel to become an apartheid state (for Israel cannot exist as a Jewish state if the huge mass of Palestinians have the vote)Perhaps more disturbing, Gorenberg also cites a lot of examples of how the Haredi are making up a growing proportion of the Israeli Defense Forces, and how the Haredi have staked out a position that if there is a conflict between Israeli law and what they perceive as a religious commandments to expand the settlements, then they will not obey the law and will even refuse to enforce it. If this comes to pass it spells the end of Israel as a member of the western democracies.** My only negative is about the Kindle edition ** This book is full of footnotes (indeed, almost half the book is created up of footnotes) but none of them are in the text itself of the Kindle edition. All the notes are there in the back, but none of the text is footnoted. This is an astonishing omission given the importance of this book.
My reading of "The Unmaking of Israel" has given me a richer appreciation of the nature of the conflict between Palestinians and Israelis. While the author is avowedly a member of an Orthodox community, he respectfully and pointedly marshals evidences that will add to the debate on both sides. There is a frankness in "Unmaking" that I found to be e prose is well-written and the overall integrity of his argument is sound.I would recommend this book to any students of the Palestinian/Israeli conflict. This book serves as a useful contribution to the debate.
Gilbert's book on Israel is a comprehensive read on the Jewish struggle to secure and keep onto their homeland. This book is more of an historical narrative of the creation of Zionism and eventually Israel's statehood in 1948 than a chronology of events. It reads like an historical novel. The author is wordy and the narrative tedious but it portrays well the continued struggles of the nation of Israel. I did not have a amazing understanding of this continued struggle until reading this book. We tend to think of Israel having fought 5 or 6 battles since independence, which is real but between the battles there has been constant nipping at her heals by those who have worked hard to destroy the nation. Gilbert brings in the human drama of this struggle. I encourage those who wish a better understanding of 'why there is no peace in the Middle East' to read this book and explore the drama within the history that has affected the lives of a lot of people in the region.
This is a consummate recording of one of two Handel's monumental oratorios on Biblical theme - Israel in Egypt"; it precedes its infinitely more popular Handel's opus "Messaih" by 3 years - Messiah created his first apparition on earth to Dublin's public on 13 April, 1742, while "Israel in Egypt" had its premiere on 4 April 1739, in King's Theater in London.I used this recording together with another one, by Harry Christophers conducting, to prepare for a live performance of "Israel in Egypt" in Boston, by Handel&Haydn Society:Israel in Egypt, oratorio, HWV 54 There is a review of Maestro Christophers CD on my making, but I will, in a faithful Handel's fashion, borrow some parts from it for this review - may I be forgiven since I am borrowing from rst of all, the major difference between this and the aforementioned Harry Christophers's recording is that this one contains sometimes omitted Part I, which was added by Handel at the end of his work on Parts III and II. This Andrew Parrott's ver is therefore closer to what Harry Christophers presented to us in Boston! - Even though Maestro Christopher's own recording does not include Part I, known as The Lamentation of the Israelites for the Death of Joseph. To me personally, the inclusion of Part I adds to the overall impression of this oratorio; the melody itself, which is borrowed by Handel from his own work, Funeral Anthem on the Death of Queen Caroline, is excellent; Handel loved the anthem. Yet on the recording it loses its immense grandeur and divine sound that one experiences in a live performance. However, it is still an integral part of the oratorio and it sounds here as amazing as it can, discounted for the limitations of any stereo is a pity this oratorio is relatively seldom performed; it has again the magnificently sounding chorus and a number of amazing arias and duets, most notably "The Lord is a man of war..." for two @#$%!&! Of course, the melody of this duet conjures up Messiah's 'Why do the people so furiously fight...", and generally the melody of "Israel in Egypt" reminds strongly of a lot of parts of Messiah, being chronologically, and most likely artistically, a precursor for Handel's most popular work. This recording also boasts amazing voices of Nancy Argenta for soprano parts and Anthony Rolphe Johnson as tenor - perhaps referring to the tenor voice representing Christ in the later stening to this oratorio conjures up splendid photos of a lot of interpretations of the story of The Crossing of the Red Sea - here on the cover of this CD set there is a marvelous photo of Agnolo Bronzino's fresco "The Crossing of the Red Sea" from Capella di Eleonora di Toledo in Palazzo Vecchio in Firenze, so splendidly mannerist, in Michelagelo-Raphael heavily influenced style of Daniele da Volterra and other artists; one can think of an earlier Cosimo Roselli's freso on the same topic in Sistine Chapel, or of a lot of other followers of the splendid Renaissance Florentine School, who decorated different palaces throughout Italy with favorite topic of Pharaohs, Moses, Aaron and the whole adventure - in Villa d'Este by Cesare Nebbia, Durante Alberti and Girolamo Muziano, in Palazzo Altemps by Pasquale Cati, and a lot of others in different so it is interesting to contemplate the demise of melody comparing this work and Schoenberg's "Moses und Aron", which we also incidentally heard in Boston Symphony hall in a concert performance a few years ago. I cannot recall an audience that at the end jumped on their feet in a universal impulse for a sweeping ovation, everyone being in a state of sublime transport, as if Handel played on soul's strings, trumpets and horns... It was really a magnificent evening - Friday 18, 2011, when we hear this oratorio live, and it is amazing to have this recording as a reference to the live performance.I recommend this recording highly, especially considering that it is complete with Part I; and here is some history on "Israel in Egypt" origins and background:Composed between October 1, and November 1, 1738 and premiered in London the following year, "Israel in Egypt" is one of only two Handel oratorios with texts taken directly from the Bible; other texts were gleaned from the Anglican Book of Common Prayer. The librettist is not known, but scholars suggest that Charles Jennens, librettist for Messiah, the only other Handel oratorio with a Biblical text, compiled this libretto as well. Unlike his other oratorios, "Israel in Egypt" includes more choral movements than solo ones. This may be one reason why the work was not enthusiastically received at its premier in London at the King's Theater on April 4, 1739. Handel, as was his custom, created changes for subsequent performances, adding more solo movements and shortening some of the e mood in London at this time also had an impact on the reception of this oratorio. England was ruled by King George II who was also the Elector of Hanover and therefore part of the select group who sanctioned and supported the Holy Roman Empire, which was firmly in the hands of the Austrian Habsburgs. Thus, England was allied with Austria. For some English topics in the 1730s, this association was another reminder that their king and his wife, Queen Caroline, were foreign-born monarchs. This was not an problem for supporters of King George II, but for those who felt the throne had been usurped by Hanoverians, this alliance rankled. Handel and his melody became unwittingly involved in this situation because Handel was also German-born and enjoyed the favor of the royal family despite the opposition to him and his opera companies mounted by some English noblemen. Moreover, in the press Handel was associated with Sir Robert Walpole, a leading figure in the government of George II. Walpole's unpopular policies, such as the Excise Tax, were conflated with Handel's own business practices and transformed Handel into the public face of a lot of attacks on the spite the political overtones imposed on his works by the press, Handel continued the oratorio performances begun in the early 1730s. With Israel in Egypt, the extra-musical notice seemed to apply to all aspects of politics in England, which was facing several crises simultaneously. In 1733, the Battle of Polish Succession tested the alliance between England and Austria especially when England did not contribute direct military help due to Walpole's policies. Also in the 1730s, Spanish ships boarded and searched English merchant ships. Public reaction in England called for a fast and powerful response. That response did not come until 1739 when England began what was called the Battle of Jenkins' Ear, named for a published picture showing the Spanish attacking an English ernal strife also affected life in England. There was opposition not only to the Hanoverian monarchy but also to Sir Robert Walpole. The leading enemy to Walpole, Lord Bolingbroke, attempted to limit Walpole's power at about the same time "Israel in Egypt" premiered. Because of this, the idea of dissent, enslavement, and the desire to be delivered from an unjust government resonated with the press and members of the audience. Reviews of the first performances openly associated England's political troubles with Israel's plight. The desire of some for the return of the "true" royal family, the Stuarts, was anoteh rpoint for domestic uncertainty; they, too, looked to this oratorio as a source of inspiration. The ability of this story to be interpreted in so a lot of diverse and even contradictory ways is a testament to the power and appeal of Handel's e number and dozens in the choral movements sets "Israel in Egypt" apart from Handel's other oratorios. The chorus does not just comment on the narrative; it actively participates in telling the story. The oratorio is divided into three parts:* The Lamentation of the Israelites for the Death of Joseph,* The Exodus, and* Moses Song. The melody for Part 1 references earlier compositions. Parts 2 and 3 were composed in reverse a whole, Part 1 is a reworking of Handel's Funeral Anthem for Queen Caroline. Within the opening chorus. Handel borrows from the motet `Behold how the righteous man dies (Ecce quomodo moritur justus) by the 16th- century composer Jacob Handl (Gallus). A meditative and serene quality emerges out of the initial feeling of sadness and mourning as Handel weaves varying textures with the vocal and instrumental rt 2. The Exodus, begins with the announcement that a fresh king of Egypt has taken the throne and does not treat the Israelites with compassion. God then calls Moses to aid the Israelites and lead them from slavery. The depictions of the plagues and the passage through the Red Sea include some of Handel's most vivid writing. In "The land brought forth frogs" the short-long rhythmic pattern and leaping melodic figures portray the movement of these animals. Similarly, in "And there came all manner of flies" the running notes in the violins are as incessant as the pestilence they represent. Further on, the oboes and bassoon enter with the chorus to relate a fresh plague: locusts.Handel also uses text painting to express more general feelings. The descending line in the orchestra that begins the chorus "He sent a thick darkness" and the chromatically rising and falling line in the vocal parts convey the oppressive nature of this text ("even this darkness which might be felt"). This movement contrasts with the lilting music and pedal tones Handel employs for the pastoral setting of "But for his people."In "But the water overwhelmed their enemies" the orchestration again underscores the text with timpani rumbles, triplet figures in the strings, and melodic leaps in the violins, viola and oboes. Here too, Handel goes beyond the depiction of specific words to reflect the overall emotion of the Part 3, photos of crossing the Red Sea are conveyed differently in the chorus And with the blast of thy nostrils;" steady notes in the voice and oboe confine the quick figuration in the first violins to reflect the text "the flood stood upright."In the final chorus, a recitative recounting the safe passage of the Israelites through the sea separates two choral exclamations of "The Lord shall reign." A third iteration of this text begins with alternating passages for soprano and chorus, In the orchestra, trumpets and trombones contribute to the regal sound and at "for he hath triumphed gloriously" Handel creates distinct vocal lines, expanding the sound to a joyous, celebration of all the people. Scored for soloists, two choruses, and an orchestra consisting of oboes, bassoons, trumpets, trombones, timpani, strings, continuo and organ, Israel/n Egypt is a monumental work. Through Handel's unparalleled skill of story telling in music, this oratorio speaks to audiences today as powerfully as it did in Handel's own time.