How might a poem acquire divine forgiveness? Ariel Zinder’s book Arise and Sing follows medieval Jewish poets from Iraq and al-Andalus as they seek answers to this pressing question. The book presents close readings of liturgical poems (piyyutim) written in the 10th and 11th centuries, and brings them into contact with contemporary literary theory as well as modern philosophical discussions of the possibility of forgiveness.

Uri Zvi Greenberg’s early poetry, composed between 1912 and 1923, offers both a key to understanding his later work, and a means for re-conceptualizing modern lyrical discourse in general and modern Jewish lyrical discourse in particular. Often callow, this early work testifies to the poet’s quest for a way of writing poetry that would give voice to the Jewish experience in Europe just before and after World War I. Like many other Jewish poets of the period, Greenberg was aware of the pressing need to express Jewishness in a way that would allow for the continued existence of Jewish national identity, among nations jostling for independence in a Europe rife with tensions. Similar to many of these poets, Greenberg also knew that this expression would have to be, of necessity, grounded in modern subjectivity. Paying attention to the various literary, historical, and political contexts of Greenberg's writing, Green Mountain and Love traces the poet’s valiant attempt to come to terms with modern subjectivity, and in so doing, reinvestigate the mechanisms of modern lyrical discourse. It yields fresh insights into the nature of poetry; its aims and functions in the cultural, political, and historical arenas; and the reader’s relationship with the poetic word.

It is not an easy task to find in any creative field a person who is both an original and groundbreaking artist and a profound thinker-interpreter, who is well versed in the broad scope of the entire culture. Such is Michael Gurevitch – the playwright of "Happiness", "A Fleeting Shadow", "A Word of Love" and "The Dragon's Beloved" (out of more than eighteen plays) – who presented new, local and extremely challenging concepts about the context of a theatre play within the contemporary Israeli existence. Gurevitch designs a new local theatrical language in his plays and in the way he directs. He is an unforgettable director of classics such as "The King's Clothes" by Nissim Aloni, "Life is a Dream" by Calderón de la Barca, "A Midsummer Night's Dream" by Shakespeare, "Uncle Vanya" by Chekhov or "War on the House" by Aristophanes (adaptation by Ilan Hatsor). His theatrical insights are interwoven to the most contemporary Israeli issues without so much as a sensational wink. His theater is a "passing shadow" in the full sense of the word because it is based on one-time work with certain actors, at certain moments in their lives, and in the life of the country at a certain moment, and for that reason it is profoundly unique to theater alone, because it lives only when it is actually performed, hence it is poignant and unforgettable. Gurevitch was born (1951) and raised in Tel Aviv. He lived, breathed and studied local and international theater all his life, but his main strength is in the depths of the emotional, involving his childhood, his parents and his unique personality. In Two Children in The Field: Reflections on Theatre and Life Gurevitch manages to refine, from his rich experience, a series of lucid insights on the relation between theatrical conceptions and the contexts from which they stem.

The book Shamanism and Literary Criticism deals with the unique attention that scholars of art and literature pay to the object of their study. This specific attention is based on a communitarian approach, a special type of research empathy, and a contemplation radically focused on literature, art, and the community of its readers. What do scholars of literature do in a community where literature is created, read, and interpreted by them? What is the attitude of these scholars to literature and its readers? What is the role entrusted to them by their community? This book offers a new theory about the attitude of the study of literature toward literature, art, and communality. It illustrates the theory and its features as a method of research and interpretation in the works of Uri Nissan Gnessin, Micha Yosef Berdyczewski, Shimon Halkin, A. B. Yehoshua, Aharon Appelfeld, Dahlia Ravikovitch, Ronit Matalon, Orly Castel-Bloom, and Anna Hermann.

In his book History, Literature, Critical Theory (2013), the historian Dominique La Capra presented the ways in which the voice of the narrator in the 19th and 20th century novel came to a collapse, which reflects the modern traumatic experience. This study employs this theoretical prism in order to construct a cultural dimension of 20th century Jewish poetics - a dimension in which trauma is reflected in its linguistic representation, but also shapes this same representation. The book offers an understanding of Jewish literature in the 20th century as a far-reaching cultural experience, in which the human figure is not made possible by words, but rather collapses into the animal, the absence, the broken witness, the Muslim, the eastern, the Arab and the queer.

The book is concerned with the main trends in Jewish Liturgy during Late Antiquity and its connections and inter relations with Aramaic Targum, Midrash, mysticism, popular beliefs, structure and rhyme patterns as performed amid Late Antique Synagogues in Palestine, as well as the later spread of these fertile products to Southern Italy and then to the rest of Europe. The book discusses the different layers of poets and performers as presented in ancient manuscripts which were preserved in the Cairo Geniza collections and later in European Mahzorim, and the fascinating struggle of survival of the different liturgical cycles.

Argonautica (the voyage of the ship Argo), is a Hellenistic epic poem by Apollonius of Rhodes written in the third century BCE. It is one of the few remaining epic poems of ancient Greece, recounting the adventures of Jason and the Argonauts who sailed aboard the Argo to Colchis in order to retrieve the Golden Fleece. Much importance has been attributed to this work owing to its artistic qualities and complex narrative. Argonautica has had an immense influence on prominent Roman and modern writers alike, including Ovid, Virgil, and Robert Graves. The Hebrew translation retains the original meter of the work and accurately reflects the content and spirit of the original Greek.

"Until the Sun and the Light will Darken" is Shlomo Vinner's fourth poetry book. In this book he included new poems and a selection from his previous books: "For Few Hours Only" (Eked, 1972), "Tremor and Earth" (Keter, 1986; Acum Prize) and "Suddenly life" (Hakibbutz Hameuchad, 1992; With the help of Jerusalem Funding for Literature). "Until the Sun and the Light will Darken" was published with the help of Acum's Social and Cultural Fund. Vinner is an Emeritus Professor of The Hebrew University of Jerusalem and of The Ben-Gurion University of the Negev. Currently, he is the head of The Master Program of Mathematics Education at the Elementary Level at Achva College of Education.