This wide-ranging book shows how, since the first centuries of the Christian era, gentiles have associated Jews with noise. The study focuses on a “musical libel" - a variation on the Passion story that recurs in various forms and cultures in which an innocent Christian boy is killed by a Jew in order to silence his “harmonious musicality.” In paying close attention to how and where this libel surfaces, Ruth HaCohen covers a wide swath of Western cultural history. The author combines in her analysis the perspectives of musicology, literary criticism, philosophy, psychology, and anthropology, tracing the tensions between Jewish “noise" and idealized Christian “harmony” and their artistic manifestations from the high Middle Ages through Shakespeare, Bach, Wagner, George Eliot, Kafka, Schoenberg and others. She explores testimonies by outsider visitors of synagogues, operas, caricatures, and Nazi movies. Her analysis shows how entrenched aesthetic-theological assumptions have persistently defined European culture and its internal moral and political orientations. Following the publication of the book, the author received two prestigious awards: the Polonsky Award for Creativity and Originality in the Humanities, and the Kinkelday Award from the American Musicological Society for the best book in musicology published in 2011 .

The study of liturgy is intrinsically interdisciplinary and comprises elements of music, drama, theater and devotion that are of great consequence to believers and scholars far and wide. Liturgy is both history and theology, purporting to reflect and propagate values that inform individuals and communities alike, playing a vital role in the construction of sacred and lay memory and identity. As a multi-sensory experience, liturgy maintains a dynamic relationship with the surrounding space and its visual components, including art, artifacts and architecture. The essays in this book examine diverse aspects of liturgy and the arts, and were written by scholars working in the disciplines of musicology, social and cultural history, art history, material culture, and the history of the Jews and Christians in the Middle Ages and beyond. The articles engage in a comparative and interdisciplinary discourse, in order to contextualize the liturgical practices within the production of medieval cultural memory, and within the symbolic traditions expressed through liturgy and the arts. Primary sources include texts, rituals, music and visual media from Western Europe (Christian and Jewish) and the Latin Levant. The study of written, visual and musical constructs identifies the values and ideals conveyed and instilled through Jewish and Christian liturgical commemoration, and explores how these activated the faithful's idea of community and their place within it.

Few articles in this issue: Uri Ehrlich and Vered Raziel-Kretzmer | Prose or Poetry? - Clarifying the Eretz Israel Version of the ‘You Smote’ Passage in the Maʿariv Prayer Avi Shmidman | Did Palestinian Qinnot Serve as Seliḥot in the Babylonian Rite? Michael Rand | Interdigitated Piyyutim and the Principle of Polyphonic Performance in Late Eastern Piyyut Ophir Münz-Manor | Analog Piyyut in a Digital World: Towards Computational Study of Payytanic Literature Eden Hacohen | ‘God has made the one as well as the other’ ‒ Parallels and their Deconstruction in Piyyut Dalet of Yannai’s Qedushta’ot

The 33 essays in this book, most of which were published during 1965-1970 in La Stampa , are the diary Natalia Ginzburg never wrote. The essays depict everyday life, its randomness and chaos. Through them she discusses her own self, her literary passions, the thoughts she has while listening to music, watching an opera or a comedy, reading a book or newspaper, or while observing her children and grandchildren. She touches upon subjects like the loneliness of childhood, the dreariness of old age, the belief and disbelief in god. These essays portray an extraordinary portrait of the author as shy, quiet and fragile, but also as determined and aware of the significance of words. Mai devi domandarmi expresses the unique literary quality in Ginzburg's writing, which oscillates between autobiographical and testimonial.

By 1917 the European war seemed to be endless. Both sides in the fighting looked to new weapons, tactics and ideas to break a stalemate that was itself destroying Europe. In the German government a small group of men had a brilliant idea: why not sow further confusion in an increasingly chaotic Russia by arranging for Vladimir Ilyich Lenin, the most notorious of revolutionary extremists, currently safely bottled up in neutral Switzerland, to go home? Catherine Merridale's Lenin on the Train recreates Lenin's extraordinary journey from harmless exile in Zürich, across a Germany falling to pieces from the war's deprivations, and northwards to the edge of Lapland to his eventual ecstatic reception by the revolutionary crowds at Petrograd's Finland Station. With great skill and insight Merridale weaves the story of the train and its uniquely strange group of passengers with a gripping account of the now half-forgotten liberal Russian revolution and shows how these events intersected. She brilliantly uses a huge range of contemporary eyewitnesses, observing Lenin as he travelled back to a country he had not seen for many years. Many thought he was a mere 'useful idiot', others thought he would rapidly be imprisoned or killed, others that Lenin had in practice few followers and even less influence. They would all prove to be quite wrong.

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.

Was Niccolò Machiavelli really the cynical schemer of legend - or was he a profound ethical thinker, who tried to save the democratic freedom of Renaissance Florence as it was threatened by ruthless dynasties? This revelatory biography shows us a man of fox-like dissimulation: a master of disguise in dangerous times.

This book focuses on space, borders and ethics in contemporary Hebrew prose written in the shadow of the Occupation and the Intifadas and reads a corpus of works written between 1987 and 2007. Israeli literary representations of the Occupation and the two Intifadas raise critical ethical questions about militarism, humanism, the nature of the State of Israel as a democracy, national identity and its borders, the nature of Zionist education, and the acknowledgment of the Other. The book deals with the portrait of the Israeli soldier, depicts the settings of the Occupied Territories, but also describes life in cities such as Tel Aviv and Jerusalem. It examines realistic writing as well as fantastic-grotesque, in the works of A. B. Yehoshua, David Grossman, Ronit Matalon, Asher Kravitz, Michal Govrin, and Orly Castel-Bloom and many others.

Chronicle of French and Ottoman Kings was written by a sixteenth-century Jewish doctor of Spanish origin living in Italy. According to the writer, his intention was to document the hardships and injustices suffered by Jews in the Diaspora - especially the expulsion of Jews from Spain and France - and include them in the history of the conflict between the French kinds and Ottoman Empire over the rule in "the land of Judea and Jerusalem." In effect, this is a story, set in chronological order, of selected events in world history, similar in structure and content to hundreds of writings published at the time. It was written in fine biblical Hebrew, and as such was aimed at an audience who knew the language and could appreciate the conflict between the French kings and the Ottoman Empire as representing world history.

The story recalls the life and work of Josef ha-Cohen, the author of The Chronicles of the French and Ottoman Kings and Sefer Emeq ha-Bakha (The Vale of Tears), published simultaneously. The story reflects a momentous experience of joy and bereavement, love and desire, youth and old age, and most particularly the feeling of human transience.

‏‏Deganit Berest is one of the prominent Israeli artists active today. Her many artworks span ‎between painting, photography, and installation. Her intricate works trigger and challenge ‎different interpretive moves. This book present eight of them, written by artists, philosophers, ‎curators and other scholars, unfolding a rich and diverse commentary on Berest’s works. In ‎addition to the papers, the book includes fragments written by the artist herself, unveiling ‎another perspective on the artworks, which usually remains hidden: the artist herself meditating ‎about her own works. ‎