The Last Trial deals with the trial of Ivan Demjanjuk, who was tried in the State of Israel in 1986 on charges of being "Ivan the Terrible," the operator of the gas chambers at the Treblinka extermination camp, and was acquitted after a seven-year legal process. The book is based on in-depth archival research and reveals for the first time a rich collection of historical documents from the legal authorities in Israel, the United States, and Germany. The book is also based on in-depth interviews with senior members of the legal system who were involved in the trial – judges, attorneys, and witnesses. The Demjanjuk case was considered both a case with a high chance of conviction and a potential for severe punishment, and a case that was expected to bring the memory of the Holocaust back onto the public agenda, some half a century after the Eichmann trial. It was chosen from among the cases of other suspects to be the first test case for the possibility of extraditing Nazi criminals from the United States to Israel. The results of the trial therefore had a decisive impact on the continued activity of the State of Israel in bringing Nazi criminals to justice. When Demjanjuk was acquitted, it became clear that not only had the prosecution failed to achieve the desired result of convicting the defendant, but also that the legal process in his case had failed to fulfill the educational, documentary, and historical goals that were attached to it. In the final analysis, this resounding failure brought the prosecution of the Nazis and their accomplices in the State of Israel to an end. The tension between the legal field and the historical field, and between legal judgment and factual truth, runs throughout the book. The greatest danger of blurring the lines between "law" and "history" lies in the fact that the legal outcome of a criminal proceeding – "guilty" or "not guilty" – may mistakenly be linked to the historical determination of "did happen" or "did not happen." A misunderstanding of legal acquittal as historical acquittal is one of the biggest obstacles to the influence of criminal law, which ends in acquittal, on collective memory. As the book shows, the case of Demjanjuk's extradition and trial in Israel illustrates the difficulties inherent in dealing with the Holocaust within the courtroom, and also sharpens the problematic nature of using criminal law tools to establish historical truths.

The Military Government was established during the war and operated within the army, but it promoted political and ideological objectives. In July 1948, David Ben Gurion established it as body intended to govern the Palestinians who remained in Israel. Its main objectives were threefold: to facilitate the transfer of Palestinian land into Jewish hands; to exclude Palestinians from the labor market and prevent them from organizing on a national basis. The Military Government promoted these objectives through a bureaucratic mechanism that prevented the Palestinians citizens of Israel from leaving their place of residence without the governor's approval. The supporters of the Military Government were well aware of the fact that its existence makes Israel a non-democratic state. They supported its existence because they believed it was necessary to maintain Israel's Jewish character. The Military Government was controversial in the political system in Israel, but the intensity of the opposition to its existence was sometimes contingent on the partisan and ideological interests of the opponents, both from the left and the right. The book describes the factors that shaped the political system's relationship with the Military Government and traces the changing strength of the debate surrounding it. The book seeks, among other things, to answer the question of whether Prime Minister Levi Eshkol's decision to abolish the Military Government in December 1966 was due to the struggle of the opponents or rather from the recognition that the Military Government had fulfilled its objectives.

Setting Tables: Eating, Social Boundaries, and Intercultural Transfers is a first-of-its-kind collection of Hebrew articles exploring commensality and various practices associated with shared eating, whether with acquaintances or strangers. This volume examines how meals—though routine—function as significant normative anchors in different societies and historical periods, delineating hierarchies within and between social groups and cultural categories. Shared eating can occur in everyday settings or in political and ceremonial contexts. Participants may adhere to contemporary etiquette, engage in discussions, remain silent, focus solely on the meal, or manage social impressions. Regardless of time or place, shared eating consistently signifies both divisions and connections, shaping and reflecting intricate social identities. The volume offers a range of case studies, from Assyrian royal banquets through the Roman world, to Jewish and Arabic sources from the Islamic world and addresses current issues like municipal conflicts over falafel vendors in Mandatory Tel Aviv, sustainable consumption at weddings and the rise of personalized microbial diets. It investigates the characteristics of this complex social interaction and reveals the connections between the material aspects of meals and their cultural meanings.

The Hebrew University campuses are not just buildings and lawns. They are a huge museum, where walls are paintings, sculptures are stories, and every work of art invites the viewer to a conversation. Art at the Hebrew University is present not only physically, but also in spirit. Art at HUJI presents eighty-three artworks selected from the thousands of pieces on display at the Hebrew University – on the lawns and in enclosed spaces – ranging from well-known works by Henry Moore and Yigal Tumarkin to hidden gems by Marina Abramović and Sigalit Landau. The book is an invitation to embark on a journey through time and discover the stories behind each piece, the artists who created them, and the way in which art has influenced the university. Art at HUJI weaves a dialogue between the works of art displayed at the university and its academic faculty, students, and employees. Inspired by Plato's dialogues, these individuals were invited to choose one work that spoke to them and write about it. Each work featured in this book is accompanied by these reflections, alongside commentary written by the editor of the book and curator of the university, Dr. Michal Mor.

Corner of a Foreign Field portrays the British colonial community in Mandatory Palestine and explores the lives of its members—men, women, and children. The book sheds new light on the British mandatory experience as a set of practices and habits, emotions and sensibilities, identities and relationships. It examines how British everyday lives were an inseparable part of the mechanisms of control and governance in Palestine, intertwining the public with the private, the political with the intimate. The book examines the consolidation of British citizens in Palestine into a colonial community, offering a fresh perspective on the British as a heterogeneous and hierarchical group marked by various internal tensions. The history of this community unfolds through a wide range of themes: bachelorhood and marriage, sexuality, family and education, body and health, domesticity, leisure and cultural institutions, celebrations and rituals—all of which are interwoven with political, ethnic, class, and gender power relations. By focusing on the composition of the British community and the fabric of its daily life, Corner of a Foreign Field is a pioneering study that brings the social and cultural history of the British from the margins to the center, integrating it into the broader history of British colonialism in Palestine.

Neighbors, Neighborhoods, Neighborliness explores the development of urban neighborhoods established during the British Mandate and their pivotal role in shaping the Yishuv and Jewish society in Palestine. Combining “history from above”—planning and legislation—with “history from below”—the everyday experiences of residents—the book shows how neighborhoods emerged not only through planning policies but also through private initiatives and grassroots community efforts. It examines interactions among residents—immigrants, workers, housewives, and entrepreneurs—and between neighborhoods and institutions, from local committees to the Mandate government. The study highlights how processes of modernity intersected with questions of gender and nationalism, tracing the relationships among diverse social groups: women and men, children and adults, immigrants and native-born Jews, Jews from Europe and MENA countries, and Jews and Arabs. Through its analysis of construction patterns, social dynamics, and communal relationships, the book traces the emergence of “neighborhood citizenship”—a sense of belonging rooted in everyday life that shaped both urban development and the broader social fabric. Neighbors, Neighborhoods, Neighborliness is not only a history of places but of people and communities. It offers new insights into the social cohesion of the Yishuv and uncovers the origins of the social divisions that continue to shape Israeli society today.

The Hebrew University campuses are not just buildings and lawns. They are a huge museum, where walls are paintings, sculptures are stories, and every work of art invites the viewer to a conversation. Art at the Hebrew University is present not only physically, but also in spirit. Art at HUJI presents eighty-three artworks selected from the thousands of pieces on display at the Hebrew University – on the lawns and in enclosed spaces – ranging from well-known works by Henry Moore and Yigal Tumarkin to hidden gems by Marina Abramović and Sigalit Landau. The book is an invitation to embark on a journey through time and discover the stories behind each piece, the artists who created them, and the way in which art has influenced the university. Art at HUJI weaves a dialogue between the works of art displayed at the university and its academic faculty, students, and employees. Inspired by Plato's dialogues, these individuals were invited to choose one work that spoke to them and write about it. Each work featured in this book is accompanied by these reflections, alongside commentary written by the editor of the book and curator of the university, Dr. Michal Mor.

The eighty-four years of Zalman Shazer, the third president of the State of Israel (1889-1974), encompass the great drama of Jewish life from the end of the nineteenth century to the second half of the twentieth century: the growth of the national and cultural movement in Eastern Europe and the Jewish settlement in the Land of Israel, and the establishment of the state and the struggle for its security and beauty. Along Shazer's journey he encountered famous figures such as Berel Katznelson, David Ben-Gurion, the Lubavitcher Rebbe, and his three great loves: Rachel Katznelson, Rachel the poet and Golda Meir. Who was this man? A Hasid who disguised himself as a secularist or a secularist who became a Chabad Hasid? A romantic who met a beautiful goose herder and did not forget her for the rest of his life or a husband who distanced himself from his wife and loved to stay away from home? A deep researcher of the Sabbatarian movement or a politician? Since the founding of the state until the end of his life, Shazar acted as a public figure in the State of Israel, and at the end of his public career he became its number one citizen, its third president. The biography In Two Worlds unfolds the story of his life and discusses the internal tensions and his struggles - between religion and tradition and secularism, between politics and research, between the Diaspora and the Land of Israel, and between the women he loved. Together, these created a unique and fascinating character.

Is Israel really a “villa in the jungle”? Ehud Barak and Benjamin Netanyahu, who have each used this expression, expressed a condescending popular perception among Israel’s leadership — and the public more broadly — that did not see Israel as politically, economically, or culturally part of the Middle East. This volume of essays addresses Israel’s place in the Middle East from a variety of strategic, political, educational, and academic perspectives. The book shows that, contrary to common Israeli perceptions of a besieged state destined to live alone, Israel has played varied roles in the Middle East, both overt and covert, during both war and peace. The Hamas attack on October 7, 2023, and the ensuing war, place the question of Israel’s regional standing to a critical test.

Sovereignty in Miniature examines the formative period of Israel’s relations with the United Nation through the lens of Jerusalem’s history. According to the UN resolution, Jerusalem was to become a demilitarized international city. Yet following the results of the war, the city was divided de facto between Israel and Jordan. An exception was the exclave of Mount Scopus, which remained demilitarized under UN control. Drawing on documents from four continents, this study investigates Israel’s actions vis-à-vis Jordan, the UN and other international actors to assert its claim to sovereignty over its share of the exclave. The book uses the vantage point of the absolute exceptional – a demilitarized zone under UN control – to expose the Israeli understanding of sovereignty. Telling a largely forgotten story, Sovereignty in Miniature demonstrates how, once Israel recognized the potential significance of the Jewish institutions on Mount Scopus – the Hebrew University, National Library and Hadassah Hospital – it leveraged their ownership to consolidate its grip on the exclave. For similar reasons, Israel attempted with varying degrees of success to claim direct or indirect control over sites beyond its immediate possession, including the British military cemetery, the German Augusta Victoria compound and the Palestinian village of Issawiya.

This book is the first in Israel to be dedicated to the work of Bauhaus photographer Moshé Vorobeichic-Raviv (Moï Ver, 1904–1995) and accompanies an exhibition at the Tel Aviv Museum of Art. Moï Ver, who studied in Wilna, Germany, and Paris with some of the most prominent artists of his time, engaged with contemporary avant-garde and modernist movements. His work is linked to New Photography, also known as New Vision, which ignited European imaginations and paved the way for revolutionary modes of creation and thought. For two and a half decades (1925–1954), Moï Ver oscillated between documentation and the creation of reality, deconstructing and reassembling the subjects he documented. While a documenting photographer captures moments, a creator of reality constructs experimental visual statements and original modes of perception. Moï Ver moved between documenting the traditional Jewish community in Wilna, life in modern Paris, the traditional Jew in Poland, and Zionist photography. In the past decade, the Moï Ver Archive has enabled further research on this innovative photographer, situating his work in relation to other European immigrants who heralded modernism. This book presents new research findings on his work with Zionist organizations and showcases works and photographs from all his periods, many of which are published for the first time.

The Other War articulates the anatomy of World War II. For that purpose, it takes an unusual perspective: instead of following the conventional horizontal historical axis, from Nazi Germany eastwards and westwards, it directs the view from the global south to the north. Both axes, the continental and the colonial, were, of course, not disconnected; to expose their intersections, this book lays the focus on Jewish Palestine. The focus on Palestine, as part of a broad British defense parameter protecting the Indian subcontinent, reveals the entanglement of two conflicts: the European war, that escalated into a world war, and the Jewish-Arab-British war over Palestine. In their discreet competition, each of these conflicts remained, for its rival, a foreign war.