16 October 1943 is one of the most intense, troubling and spectacular works ever written on a single event in the Holocaust of Europe's Jews. This text embodies a stylistic combination of almost real-time journalism, powerful poetic and emotional literature and a profound philosophical essay on the Nazi's behavioral patterns. Giacomo Debenedetti, a distinguished Jewish-Italian author, journalist, and literary critic and theorist describes in 16 October 1943 the terrors of the raid of the Ghetto of Rome. The story (for it is first and foremost a story) unfolds, with piercing, terrifying language, the deportation of one Jewish community within the Nazi extermination mechanism.

Richly illustrated and meticulously documented, this is the first comprehensive survey of synagogue textiles to be available in English. Bracha Yaniv, a leading expert in the field of Jewish ceremonial textiles, records their evolution from ancient times to the present. The volume contains a systematic consideration of the mantle, the wrapper, the Torah scroll binder, and the Torah ark curtain and valance, and considers the cultural factors that inspired the evolution of these different items and their motifs. Fabrics, techniques, and modes of production are described in detail; the inscriptions marking the circumstances of donation are similarly subjected to close analysis. Fully annotated plates demonstrate the richness of the styles and traditions in use in different parts of the Jewish diaspora, drawing attention to regional customs. Throughout, emphasis is placed on presenting and explaining all relevant aspects of the Jewish cultural heritage. The concluding section contains transcriptions, translations, and annotations of some 180 inscriptions recording the circumstances in which items were donated, providing a valuable survey of customs of dedication. Together with the comprehensive bibliography, inventory lists, and other relevant documentation, this volume will be an invaluable reference work for the scholarly community, museum curators, and others interested in the Jewish cultural heritage.

The charm of Agnon’s work lies in an inebriating combination of the funny and the serious, in his famous irony that knocks down every unquestionable certainty and even its very self. Agnon’s humor eludes rhetoric borderlines, does not tolerate confines of a genre and disobeys simple interpretative solutions. In his new book, Roman Katsman suggests a new literary-anthropological method to break down Agnon’s complicated ‘laughter code’—a method based upon the cultural and semiotic interpretation of symbols. His reading of a wide selection of Agnon’s works, including his four major novels, reveals an entire world of his laughter symbols—a world of violence and sacredness, tragic bewilderment and eruption of new possibilities. In this world, arks fly, princes disappear, serpents eat their own tails, angels and demons dance, illusion turns into reality, and other foolish and cruel miracles occur. The research looks for a solution to the riddle: should Agnon's stories be considered serious or ironic, religious or secular, scornful or emphatic, archaic or modernist; or perhaps the reader is intended to swell with pathos or burst into laughter—and how come Agnon always has the last laugh?

Bearing Witness to the Witness examines the different methods of testimony given by trauma victims and the ways in which these can enrich or undermine the ability of the reader to witness them. Years of listening to both direct and indirect testimonies on trauma have lead Dana Amir to identify four modes of witnessing trauma: The “metaphoric mode”, the “metonymic mode,” the “excessive mode”, and the “Muselmann mode.” The author thus demonstrates the importance of testimony in understanding the nature of trauma, and therefore how to respond to trauma more generally in a clinical psychoanalytic setting. In order to follow these four modes of interaction with the traumatic memory, the various chapters of the book present a close reading of three genres of traumatic witnessing: Literary accounts by Holocaust survivors, memoirs (situated between autobiographic recollection and fiction) and ‘raw’ testimonies given by Holocaust survivors. Since every traumatic testimonial narrative contains a combination of all four modes with various shifts between them, it is of crucial importance to identify the singular combination of modes that characterize each traumatic narrative, focusing on the specific areas within which a shift occurs from one mode to another. Such a focus is extremely important, as illustrated and analysed throughout this book, to the rehabilitation of the psychic metabolic system which conditions the digestion of traumatic materials, allowing a metaphoric working through of traumatic zones that were so far only accessible to repetition and evacuation.

Many tend to think of post-Zionism Jerusalem as a forsaken provincial Ottoman town, entangled in a net of hatred originating in its various religions. This image coincided with the Zionist redemption vision, which sought to revive the deserted land. Lemire, studying Jerusalem of the late nineteenth and early twentieth century from within its own context – the writings of its inhabitants, documents of its governing bodies, maps, and economic reports – depicts a completely different picture. For over seventy years, members of the different religions - Jews, Christians, and Muslims - lived a life of incredible coexistence. Mutual respect and reciprocation dominated the city and its enlightened Ottoman rulers were aware of the needs of its various communities. Only the rise of nationalism and the city’s partition into quarters destabilized its unique social fabric. Vincent Lemire did not write a nostalgic document about a long-lost past, but rather illustrated an important political outlook, demonstrating that the national and religious animosity in Jerusalem is not necessarily inherent to the city.

Replacing Myself with Myself is the fifth selection of Michael Handelzalts's weekly columns, written and published in the Haaretz newspaper between June 2005 and November 2008. Anchoring his amused musings in the headlines, he ponders, among other things, on the kind of fruit with which the Snake and Eve had tempted Adam in the Garden of Eden, on the virtues of good spirit, and on other matters, most of them highly immaterial. A selection of his columns, Histoires d’en lire, was published in French in 2001 by Gallimard.

Music, which speaks in the language of tones, tends to elude attempts at a description in words. Precisely for this reason, perhaps, it has always posed a great challenge to authors, who have been writing musical works and performances throughout the generations. Contrary to what might be expected, literature is far from unanimous in praising music. Frequently, it assigns it dark powers and presents it as dangerous. This two-volume study is the most massive attempt yet to survey the moment musicaux (musical moments) of world literature. Volume I contains a thematic mapping of some 250 literary representations of music; volume II offers an in-depth analysis of 30 of them .

This collection, already translated to many languages around the world, now appears in Hebrew for the first time. The Art and Science of Dance/Movement Therapy has proven to be a useful collection that explains the basic concepts of dance/movement therapy, written by practicing clinicians from several countries and perspectives. It develops these concepts into an understanding of practices, which are illustrated through case studies. The topics cover a range of human needs including children and oncology, problems such as eating disorders, brain trauma, psychiatric problems, dementia and more. Integral to the practice are systems of observation, understanding of cultural differences and research, which are also discussed. The breadth and depth will be of interest to those already practicing as well as to those new to the field or in related disciplines including education.

The Stage as a Temporary Home : On Dzigan and Shumacher's Theater (1927-1980) has been designated as the winner of the prestigious Shapiro Award for 2019 for the best book in Israel Studies The Stage as a Temporary Home takes us through the fascinating stages in the life and career of the duo Shimen Dzigan and Isroel Shumacher , over the course of half a century - from the beginning of their work at the Ararat avant-garde Yiddish theater in Łodz, Poland, and to their Warsaw theater, where they produced bold, groundbreaking political satire. The book further discusses their wanderings through the Soviet Union during the Second World War and their attempt to revive Jewish culture in Poland after the Holocaust, and finally describes their arrival in Israel, first as guest performers and later as permanent residents. Despite the restrictions on Yiddish actors in Israel, the duo insisted on performing in their own language and succeeded in translating the new Israeli reality into unique and timely satire. In the 1950s, they voiced a political and cultural critique of a kind that was not heard on any of the Hebrew stages. After they parted ways, and following the death of Shumacher in 1961, Dzigan continued to perform on his own and with other Israeli artists until his death in 1980 . The book is based on rare recordings, transcriptions, programs, personal diaries, letters, photographs, oral testimonies, and critical articles, all of which come together to create the first critical portrait of this extraordinary duo. The book also examines their art, the connection between theater and politics, and the complex relationship between majority culture and minority language . The study includes several valuable indexes: of titles of programs and plays, of the artists who participated in them, of writers and the drafts they wrote, of actors and the programs in which they participated, and a general name index. The book also includes a facsimile of the manuscript Der Nayer Dybbuk [The New Dybbuk]. Click here for the English edition, published by De Gruyter in collaboration with Magnes Press

One of the world's most celebrated scholars, Stephen Greenblatt has crafted both an innovative work of history and a thrilling story of discovery, in which one manuscript, plucked from a thousand years of neglect, changed the course of human thought and made possible the world as we know it. Nearly six hundred years ago, a short, genial, cannily alert man in his late thirties took a very old manuscript off a library shelf, saw with excitement what he had discovered, and ordered that it be copied. That book was the last surviving manuscript of an ancient Roman philosophical epic, On the Nature of Things , by Lucretius—a beautiful poem of the most dangerous ideas: that the universe functioned without the aid of gods, that religious fear was damaging to human life, and that matter was made up of very small particles in eternal motion, colliding and swerving in new directions. The copying and translation of this ancient book-the greatest discovery of the greatest book-hunter of his age-fueled the Renaissance, inspiring artists such as Botticelli and thinkers such as Giordano Bruno; shaped the thought of Galileo and Freud, Darwin and Einstein; and had a revolutionary influence on writers such as Montaigne and Shakespeare and even Thomas Jefferson.

The essay Lettre à d'Alembert sur les spectacles , first published in 1758, was written by Jean-Jacques Rousseau as a response to the essay Geneva by Jean d'Alembert which appeared in the Encyclopédie. d'Alembert proposed to establish a theatre in Geneva. Rousseau opposed the idea, arguing that the move would harm the city’s delicate social fabric.

The Carved Wooden Torah Arks found in eastern Europe from the seventeenth to nineteenth centuries were magnificent structures, unparalleled in their beauty and mystical significance. The work of Jewish artisans, they dominated the synagogues of numerous towns both large and small throughout the former Polish-Lithuanian Commonwealth, inspiring worshipers with their monumental scale and intricate motifs. Virtually none of these superb pieces survived the devastation of the two world wars. Bracha Yaniv’s pioneering work therefore breathes new life into a lost genre, making it accessible to scholars and students of Jewish art, Jewish heritage, and religious art more generally. Making use of hundreds of pre-war photographs housed in local archives, she develops a vivid portrait of the history and artistic development of these arks, the scope and depth of her meticulous research successfully compensating for the absence of physical remains. In this way she has succeeded in producing a richly illustrated and comprehensive overview of a classic Jewish religious art form. Professor Yaniv’s analysis of the historical context in which these arks emerged includes a broad survey of the traditions that characterized the local workshops of Lithuania, Belarus, and Ukraine. She also provides a detailed analysis of the motifs carved into the Torah arks and explains their mystical significance, among them representations of Temple imagery and messianic themes—and even daring visual metaphors for God. Fourteen arks are discussed in particular detail, with full supporting documentation; appendices relating to the inscriptions on the arks and to the artisans’ names will further facilitate future research. This seminal work throws new light on long-forgotten traditions of Jewish craftsmanship and religious understanding.