Kobez Al Yad , an annual of the Mekize Nirdamim Society, is a forum for the publication from manuscript sources of ancient texts in Jewish studies that are shorter than book-length. The articles in this issue: Menahem Eisenberg | Qerovot for the 17th of Tammuz Attributed to Rabbi El’azar berabbi Qillir Sarah Cohen | Tokhehah poems according to the model of ‘Shikḥi yegonekh’ by Shelomo ibn Gabirol Simcha Emanuel | Additional Glosses of Rabbi Samuel ben Meir (Rashbam) to Alfasi Chen Maaravi and Adam Afterman | A Unique Version of the Kabbalistic Collections Ascribed to the Unpublished Fourth Part of ‘Sha‘arei Kedushah’

On Friday, March 11, 1026, Yoshiyahu, the only son of the Dayan of the Jewish community in Gaza City, Rabbi Yeshua HeHaver berrebi Nathan, passed away suddenly at the age of six. The bereaved father, who found it difficult to console himself, wrote a comprehensive Qedushta in memory of his son. The Qedushta is a set of piyyutim that was recited during the Amida of Shacharit on Shabbat, and was written according to fixed rules. The father conformed to the technical rules of the form of the Qedushta, but infused unique content into the piyyutim: He expressed in them his great pain and illustrated it with his repeated cries, and also included detailed descriptions of his son, who studied Torah all day. On the other hand, he also tried to deal with his grief in traditional ways, out of faith in God who brought this disaster upon him because of his sins. In one passage he even gave a list of bereaved fathers mentioned in the Bible, starting with Adam, who mourned his son Abel, and tried to convince himself that he was no better than they. The Qedushta was discovered in the Cairo Genizah almost in its entirety, in a unique manuscript which is the author’s autograph, its pages scattered among various libraries. These pages were discovered bit by bit over decades. In this book, all the parts of the Qedushta that have come down to us are printed together for the first time, accompanied by a commentary and a detailed introduction. The introduction discusses the unique contents of the Qedushta and the methods of its design. Rabbi Yeshua’s Qedusuta is compared to the works of several contemporary poets who dealt with disasters: on the one hand, to poems written in Spain, most notably the laments of Rabbi Samuel HaNagid over the death of his brother; and on the other hand, to the poems of Rabbi Samuel the Third, written in the wake of the pogrom against the Jews of Egypt, in which he was arrested and saved at the last moment from execution; and a man named Abraham HaCohen, who wrote piyyutim while imprisoned due to a financial dispute. In light of these comparisons, the purpose of the Qedushta is also discussed, with an attempt to clarify whether it was intended to be recited in public prayer, and when such a prayer could have taken place. Furthermore, the Qedushta is a fascinating human document, full of fatherly love and pain over loss. The struggle to cope with bereavement, unfortunately, is not over. The fact that these events took place a thousand years ago in Gaza also takes on special significance in these days.

This commentary lay hidden for centuries in a single manuscript that eventually made its way to the British Library in London. This edition consists of three parts: 1. A lengthy introduction , which, in addition to bibliographic and historiographic details about the author of the commentary and an account of the manuscript’s journey to the library where it is now housed, also contains a detailed analysis of his exegetical method and a discussion of his sources. 2. The body of the commentary by Rabbi Isaac ben Samuel, which includes an exegetical translation of the verses of II Samuel and their interpretation, both in Judeo-Arabic. Alongside these appear the Hebrew translation of the verses and their commentary, prepared by the editor. The layer of annotations , comprising notes that address the explanation of the commentary, its textual variants (including those found in a partial manuscript preserved in the St. Petersburg Library), its language, the sources on which it draws, and the scholarship related to it.

In this volume: Avi Shveka | The Prohibition to Capture a Mother Bird along with Her Young: A Reassessment Itamar Kislev | The Story of Nadav and Avihu: A Renewed Examination Yisca Zimran | Motion and Change in Micah 1:2–9 Noam Mizrahi | On the Importance of Text-critical Secondary Versions for Reconstructing the Literary Formation of Isaiah 61:1–7 Uri Gabbay | The Mesopotamian ‘Mouth Washing’ Ritual: A Hebrew Translation And more...

Simon Bernfeld (1860–1940) was one of the most popular Jewish European writers of the early twentieth century. A prolific bestselling author in a broad range of fields of history and Jewish studies, and a pivotal figure in the renaissance of Jewish national culture. His oeuvre encompassed dozens of books, hundreds of essays, and thousands of daily columns published in Hebrew and German. Yet despite his vast influence, Bernfeld remained outside the mainstream. His prominent presence until the late 1920s stands in stark contrast to his subsequent obscurity. This gap prompts for an examination of whether his “forgetting” was deliberate and connected to the historical narrative he sought to promote. His political views, expressed in his sermons as a modern rabbi in Belgrade, in his polemic essays criticizing both the rabbinate and the Zionist Congress, were similarly marginalized. On The Margins: A Biography of Simon Bernfeld unfolds a biography woven into the history of the Jewish intelligentsia circles in Galicia, his birthplace, and Berlin, where he lived for many years until his death. His correspondence with a wide array of figures reviles the emergence of Hebrew mass media and a national canon. Through spatial and cultural analysis, exploring themes of Jewish imperial relations and intra-European migration, the book maps the Jewish intellectual networks of Galicia and the Pale of Settlement, examining their impact on the formation of Jewish cultural and intellectual power centers at the turn of the nineteenth and twentieth centuries.

A Guide to Jewish Warsaw 1938 is an extraordinary book, describing a place that no longer exists: Jewish Warsaw was, as is well known, utterly destroyed in World War II. And yet, the book seeks to pretend as if everything is still intact, and it is possible to go on a tour following it or embark on an imaginary journey. Every detail is based on information pertaining to Jewish Warsaw in 1938 from countless sources: newspapers, literature, travel guides, written and oral memoirs, archives, interviews, films, and exhibitions. A Guide to Jewish Warsaw 1938 seeks to reveal the beauty hidden from the eye in the largest Jewish city in Europe before the war. The acquaintance with Jewish Warsaw is made through general and useful introductions, describing its history, its beliefs and opinions, its unique language, and its tastes and smells. At the center of the book are seven walking tours, revealing the city's delights: the antique bookstores on Świętokrzyska Street; the buffet at the Writers and Journalists Association at Tłomacka 13; the "Maccabi" swimming pool and the Bund's sports field; cantorial music at the Great Synagogue and Hasidic melodies in the Modrzyc courtyard in the resort town of Otwock; the summer terrace at the Rubinchik cafe, opening onto Krasiński Garden, "the Jewish Garden"; modern marble sculptures in the cemetery; the "Tel Aviv" cafe on Nowolipie Street; the treasures in the Jewish Museum; courtyards that are a world of their own on Nalewki Street and its surroundings, and much more.

In this issue: David Fialkoff | From Disqualifying Deeds to Disqualifying Thoughts: The Early Form of Mishnah Zevahim Elyashiv Cherlow | A Unique Cairo Genizah Manuscript of Babylonian Talmud Tractates Shevu’ot Idan Pinto | "Shulhan shel Arba" of R. Bahya ben Asher: Explorations into Its History and Several of Its Kabbalistic Sources Daniel Abrams | The Awareness of Scribes and Kabbalists to Multiple Versions of Texts in Kabbalistic Manuscripts

The Italian commedia dell’arte troupes roamed across Europe for two hundred years, captivating wide and diverse audiences. The performances of the commedia dell’arte were improvised, as the actors executed on stage a concise outline of a play, called "scenario". This book presents, for the first time in Hebrew translation, complete scenarios written by one of the greatest men of the Italian Renaissance theater, Flaminio Scala. The scenarios are accompanied by annotations and a comprehensive essay that reviews Scala’s life and work, and presents his scenario as a perfect recipe for comic improvisation. The book will therefore be of interest to theatre enthusiasts and scholars alike, and will provide directors, actors, and acting students with new and refreshing tools for staging comedies.

Muslim beliefs have inspired charitable giving for over fourteen centuries, yet Islamic history has rarely been examined from this perspective. In Charity in Islamic Societies , Amy Singer explains the basic concepts and institutions of Muslim charity: the obligatory annual payment of zakat together with voluntary donations of all sizes, undertaken at every level of society, and across the span of individual lifetimes. Charitable endowments – established by rulers, wealthy individuals, and even those of more modest means – shaped Muslim societies, cultures, and landscapes in ever era. This book demonstrates how historical circumstances, social status, gender, age, and other factors interacted with religious ideals to produce a vast array of charitable practices, from the early days of Islam to the present. Relying on evidence from written texts, buildings, images, and objects to anchor the discussions in each chapter, the author explores the motivations for charity, its impact on the rich and the poor, and the politicization of giving, arguing that the study of philanthropy affords a unique prism through which to examine the past.

In this issue: Diego Rotman | The Sukkah and Its Double: Copies, Variants, and the Stereoscopic Image Shani Tamari Matan | The First Hebrew Dance-Gathering at Kibbutz Dalia (1944): Decoding of an Archival and Choreographic Event Hagar Salamon and Carmela Abdar | Glory of the “Sets”: Praxis and Meaning of Dressing Children in Haredi Families in Israel Ravit Raufman | The October 7 Massacre in Light of the Folktale “The Wolf and Kid”: A Realization of Primal Fantasy Ronni Shaked | Commemoration and Conflict: How the Palestinian Calendar Shapes Identity and Resistance

Yehuda Jud Ne'eman's latest book, Auschwitz Capital of the 20th Century , presents the work of one of the most important scholars of Israeli cinema, who was also a groundbreaking director and creator. In this book, Ne'eman shares with his readers his involvement as a creator and intellectual in the establishment of Israeli cinema as a space for central artistic, cultural, and political discourse, whose significant contribution to Israeli culture and society is beyond doubt. The book includes two parts that complement each other. The first part contains an innovative and original discussion that maps the history of Israeli cinema by comparing it to cinema that began during the yishuv period. During this period, cinema was committed to the Zionist narrative, and the work is characterized as a continuous conflict between avant-garde and ideology, similar to Soviet avant-garde cinema. Within the framework of this comparison, Ne'eman emphasizes the preoccupation with modernist cinema of the "New Sensibility," a term coined years ago, and refers to films created by Israeli directors following the French "New Wave," including his own films. In doing so, he claims that between Israeli folk film and the modernism of the "New Sensibility" films, there was in fact cooperation in opposition to the establishment and Zionist ideology. The second part of the book discusses films made in the State of Israel and during the yishuv period that deal with the representation of the Holocaust as a central test case. Among other things, Ne'eman shows that the attempt to heal the horrors of the Holocaust in a simplistic national way expresses feelings of guilt and offers a limited solution to the problems of the survivors.

We are pleased to present readers with volume 23 of the journal Massorot: Studies in Language Traditions and Jewish Languages . The present volume contains nine articles focusing on diverse facets of Jewish Languages, and on the traditions and features of Hebrew reflected in the varied genres cultivated in that language. Five of the articles deal with translations. Two of them concern Bible translations into Judeo-Arabic. Moshe Bar-Asher, who has analyzed and published widely on the Western šarḥ – that is, the Jewish Maghrebi translation of the Bible – examines euphemism and language refinement "in the face of danger" with respect to the šarḥ of the Pentateuchal books of Numbers and Deuteronomy. Tamar Zewi examines alternative translations in the Judeo-Arabic Tafsīr of R. Saadia Gaon on Exodus, on the basis of the excellent manuscript of the commentary, Yevr. II C1, housed in the National Library of Russia in Saint Petersburg. Nahem Ilan discusses the Judeo-Arabic translation of the second part of the Hebrew work Pele Yo‘eṣ by Rabbi Eliezer Papo (Bulgaria, 1786–1827), composed in the middle of the 20th century by Rabbi Makhlouf Idan of Djerba. Yaffa Yisraeli analyzes the translation into the Jewish Neo-Aramaic dialect of Saqqiz (Iranian Kurdistan) of the noted piyyuṭ (liturgical poem) “Yashen al teradam,” by Rabbi Yehudah Halevy. Ora (Rodrigue) Schwarzwald offers readers a comparative analysis of six Ladino translations of the description of the lover in Song of Songs, Chapter 5, representing both the Eastern and Western Ladino traditions, from the 16th–20th centuries. Assaf Ben-Moshe draws our attention to the linguistic diversity of the Jews of Iraq by comparing the divergences between the Judeo-Arabic variety used by the Jews of ˁĀna and that used by the Baghdad Jewish community. Dalit Assouline examines the Hebrew used by Mizrahi rabbis who joined the Breslav Hasidic sect, originally of Ashkenazic origin. Efraim Hazan and Rachel Hitin-Mashiah zooms in on another genre, the epistles exchanged by rabbinic scholars concerning books. Kedem Golden deals with Hebrew poetic riddles.