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.

Anti-Semitism emerged in the late nineteenth century as a political movement that swept the masses. It presented a worldview in which a cohesive tribe called "the Jews" conspired to rule the earth by controlling international capital markets, trade, and money lending, while at the same time working to destroy—through revolutionary plots—the very capitalist system it supposedly controlled. It is easy to draw a straight line from this paranoid thinking at the turn of the century to the murderous delusions of fascism in the twentieth century. But, argues Laura Engelstein, the line was not straight. Anti-Semitism as a political weapon had its opponents, even in Eastern Europe, where its consequences were particularly terrible. Jewish leaders who joined forces in various countries and in cooperation with non-Jewish public figures worked for the rights of Jews and in firm opposition to persecution and acts of violence against Jews. In Tsarist and Soviet Russia, as well as in Poland and Ukraine – regions notorious in the West as centers of hatred for Jews – there were also those who saw anti-Semitism as a harmful burden on society and their movement. In the introduction to the book, Engelstein describes the different ways in which Jews were treated through the ways in which one Jew, Maurice Greenfeld, the author's grandfather, dealt with the upheavals of World War I, the Russian Revolution, and the civil war that followed, including the expressions of hostility and sympathy he encountered throughout his life. In the following chapters, she reveals the – sometimes surprising – positions of Russian liberals such as Prince Sergei Urusov, Ukrainian leader Symon Petliura, and Polish émigré in Paris Andrzej Bobkowski. The chapters on the inevitable rise of anti-Semitism thus examine the complex reasons why leaders and intellectuals renounced pogroms and incitement against the Jewish population. Engelstein added a short introduction to the Hebrew edition of the book.

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.

Since its creation, the Babylonian Talmud has stood at the center of the Jewish intellectual canon and the heart of Torah study. Despite its wide circulation and enduring significance, it remains an elusive work to define. It is a religious text, yet contains little theology; it is deeply legal, yet it is hardly concerned with practical rulings; it is framed as a commentary on the Mishnah, yet frequently departs into independent expansive discussions. What, then, is this composition? How was it constructed? How did it come to occupy such a central place in Jewish tradition? And how has it been interpreted over the centuries? The first part of The Talmud: A History of Learning is devoted to analyzing the Talmud itself—dissecting its constituent parts and exploring their formation, purpose, and historical context. The second part turns to the reception of the Talmud: the ways in which it has been read, studied, and reinterpreted from its redaction through the present day. The title of the book reflects this dual focus: it addresses both the internal processes of learning that gave rise to the Talmudic text, and the external history of its study and the discourses it has generated from late antiquity to the present.

The Two Mekhiltot on the Jethro Portion (Exodus 18) is, in a sense, a complement to Menahem Kahana's previous book, The Two Mekhiltot on the Amalek Portion . The book is based on new text editions of Mekhilta d'Rabbi Ishmael and Mekhilta d'Rabbi Shimon ben Yochai on the Jethro portion. It includes a systematic and detailed commentary on the exegeses of the Mekhiltot, shedding new light on many exegeses – their literal meaning, their real and historical context, and the worldviews reflected in them. The book reviews the previous editions of The Two Mekhiltot on the Jethro Portion and presents the important contribution of fragments from the Cairo Geniza that were discovered after the previous editions were published. It compares the traditions of the two Mekhiltot in their language, style, and content, and establishes the insight that in the Jethro portion, as in the Amalek portion, the tradition of Mekhilta d'Rabbi Ishmael generally takes precedence.

Among the medieval liturgical manuscripts from Ashkenaz, the Nuremberg Mahzor takes a special place. Its size, its extraordinary selection of piyyutim and piyyut commentaries, and its lavish decoration that differs from the model used for many mahzorim in southern Germany make it a spectacular object. This aroused curiosity and interest, as reflected by those who are known to have viewed the manuscript, including Emperor Leopold I (1658–1705), who visited the Nuremberg Municipal Library in 1658, and several 17th and 18th century Christian scholars who wrote about the treasures of Nuremberg. In the 19th century, several Jewish scholars studied the manuscript in Nuremberg, among them Leopold Zunz from Berlin and Rabbi Isaak Meier Eppstein from Jerusalem, culminating in the detailed study and description by Nuremberg rabbi Bernhard Ziemlich (1884–1886). Salman Schocken had hoped to acquire the manuscript already in 1934 and succeeded in adding it to his collection in 1951. The fact that during its 56-year stay at the Schocken Library in Jerusalem the Mahzor was rarely exhibited and not easily accessible to scholars and the wider audience shrouded the manuscript in mystery.

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.

In the past, prayers in the synagogue were adorned with many liturgical poems, piyyuṭim, in all the various Jewish communities, both on the major festivals and on many Sabbaths over the course of the year. Manuscripts preserve thousands of piyyuṭim, only some of which are familiar today, and some of which have never been published until our generation. This book collects more than two hundred piyyuṭim, which the Jews of Ashkenaz (German-speaking lands) and Northern France used to recite on wedding Sabbaths and Sabbaths on which circumcisions occurred. Dozens of poets wrote piyyuṭim for these festive occasions. Most of the piyyuṭim were written by German or French poets (between the eleventh and fourteenth centuries), but some of them were written by poets in the Land of Israel, Italy, or Spain. Some of the compositions were written in honor of lifecycle celebrations occurring in the families of the poets themselves. Aside from the major popular genres of Ashkenazic piyyuṭ (yoẓer, ofan, and zulat, in the blessings surrounding the morning Shema), the corpus in this volume also contains representatives of many unusual genres of piyyuṭ; this prominently demonstrates that on Sabbaths of family celebrations, the poets of Ashkenaz and Northern France wanted to include piyyuṭim in many different positions in the liturgy, more varied than usual. Especially prominent is the large unit of piyyuṭim that were recited surrounding the bridegroom’s ‘aliyya to the Torah: reshut (“invitation”) poems for the bridegroom and his groomsmen to go up for their ‘aliyyot, songs in honor of the bridegroom after his ‘aliyya, poems surrounding the reading of Ve’avraham Zaqen (a passage from the Torah that is read in honor of the bridegroom — today only in Sephardic synagogues, but in the past also in Ashkenazic), and Mi Shebberakh poets blessing the bridegroom after his ‘aliyya. Some of the poems are in Aramaic. The book includes also piyyuṭim that were recited (not specifically on the Sabbath) at the actual wedding and circumcision rituals, and piyyuṭim designated for the Grace After Meals of the festive meals in honor of the wedding and circumcision. The Ashkenazic poets were extremely learned, and they included large amounts of material from the lore (aggada) of the Talmud and Midrash. The late Prof. Jonah Fraenkel was the one that gathered the piyyuṭim for the Sabbaths of the year recited in the Ashkenazic and Northern French communities, as a continuation of his series of Ashkenazic maḥzorim for the Three Festivals and those for the High Holidays edited by Dr. Daniel Goldschmidt. This volume of Piyyuṭim for Wedding and Circumcision Sabbaths is the first in a series whose purpose is to publish all piyyuṭim for all Sabbaths that were recited in the lands of Ashkenaz and Northern France. Dr. Gabriel Wasseman, a scholar of piyyuṭ, completed Fraenkel’s work on this volume, indicating textual variants from many dozens of manuscripts, and writing a detailed commentary on the piyyuṭim. He also wrote a long introduction to the volume, which, among other things, offers a birds’-eye view of all the piyyuṭim, organized into their specific genres, and traces the development of the customs of reciting these piyyuṭim in the various communities over the course of centuries. Avraham Fraenkel added chapters to the introduction, which present a description of the customs of weddings and of circumcisions in Ashkenaz and Northern France, on the basis of books of minhagim (“customs”) and prayerbooks from the Ashkenazic and Northern French communities.

A letter written during the destruction of the communities of Galicia in the spring of 1943 by Solomea Ochs, née Luft, found among the possessions of a Wehrmacht general and later featured in an exhibition in contemporary Berlin, transforms in the hands of historian Ram Ben-Shalom into a wide-ranging documentary novel. Solomea's letter, in her own handwriting, describes not only the horrors of the massacre and extermination but also touches on the depths of humiliation and devastation felt by the Jews kneeling before their killers. This is the voice of mighty force of nature that has been silenced; something stronger than poetry and lamentation, even if it will surely be remembered alongside the great Jewish laments of the Middle Ages and Bialik's "Upon the Slaughter." Ram Ben-Shalom discovered that this letter is none other than a letter from his aunt to her family before her murder, and that the letter was kept in the drawer of his father's desk at their home in Tel Aviv. From here, a complex search journey emerged, with surprising dimensions that accumulate into a picture of distinctly epic proportions. With craftsmanship, Ben-Shalom weaves a story that is at once a poetics of life, a cultural critique, and an unparalleled delicate analysis of the depths of the selfhood of Israeli Judaism.

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.