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.

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.

Life crises present before the person experiencing them an opportunity to embark on a philosophical journey that is not detached from everyday life. This book provides philosophical guidance which could help a person define their own basic questions, as well as support in the process of creative, autonomous, critical and authentic development of a newly generated world view. It aims to enable a person to realize ideas from the history of human thought and to make their life more meaningful.

The Western Wall—Judaism’s holiest site—occupies a prominent position in contemporary Jewish and Israeli discourse, current events, and local politics. In Holiness in the Eye of the Storm: The Judaism and Israeliness of the Western Wall, 1967–2000 , Kobi Cohen-Hattab and Doron Bar offer a detailed exploration of the Western Wall plaza’s evolution in the late twentieth century. The examination covers the role of archaeology, attempts to design the space, the Wall’s transformation as an Israeli and Jewish symbol, and the movement to open it to a variety of Jewish denominations, studying the central processes and shifts that took place at the Western Wall during the three decades that followed the Six-Day War, a relatively short yet crucial chapter in Jerusalem's extensive history.

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.

Commedia dell’arte, originating in Italy and proliferating on European stages from approximately 1650 to 1750, is one of the most significant and long-lasting phenomena in theatre history; its influence on all performing genres is notable throughout Western Drama to this very day. The new study From Carnival to Theatre: Structure and Chaos in the Commedia Dell'arte provides a comprehensive, deeply-researched study of the development of the genre, the establishment of the first professional troupes in Europe, their organization, their patrons and wide variety of popular and elite audiences. The study traces all aspects of the unique improvised performance: the show's space, dramatic patterns, dramatis personae, acting style, costume and stage design are re-interpreted by the attachment of the commedia dell’ arte to its double roots: the heritage of written literature, and manifestations of popular oral tradition in seasonal festivities. The book explores especially the interaction of the commedia dell'arte with the phenomenon of carnival, in its very existence as an opposition to the social structure within the liminal time and space related to the celebration. Being an authorized event, containing metaphors of annihilating the existent order, in which subversion could be substituted by amusement, the carnivalesque combined time, place and creative means into a new theatrical form: the commedia dell'arte.

Question of Place: Architecture between the Poetic and the Ethical calls for a re-understanding of the foundations of the architectural act while exposing it to phenomenological thought. Through a return to the first - and failed - encounter in the late 1970s, between phenomenology depicting phenomena in the light of human experience and architectural discourse, Edna Langenthal offers a new reading of discourse, embracing the thought of philosopher Martin Heidegger and discussing the influence of the architectural theoretician Christian Norberg-Schulz, who in her opinion missed Heidegger's contribution to her understanding. To emphasize the potential inherent in Heidegger's thought in understanding the question of place and the possibilities of dwelling in it, the author discusses the meaning of the poetic as a constitutive axis in understanding key concepts in contemporary architectural discourse. But the poetic dimension, for her, cannot exist without the ethical dimension. Through a study of the thought of Heidegger's student and critic, the philosopher Emanuel Levinas, the structure that connects an affinity between the ethical and the home and the possibilities of settling in it.

The Second Commandment’s injunction against making graven images and likenesses resonates in all facets of Jewish visuality throughout the generations. Although Jews have always created and consumed art, the attitude to figural art –anthropomorphic and zoomorphic representations – has oscillated, like a pendulum, between strict prohibition and full permissibility. Figureless Art traces a lesser-known chapter in the history of Jewish art – a period governed by the swing to extreme stringency that left its mark on Late Antique synagogues in the Land of Israel. This anti-figural trend manifested in the avoidance of anthropomorphic and zoomorphic depictions and in the deliberate obliteration of anthropomorphic and zoomorphic figures on stone carvings and mosaic carpets that adorned the synagogues. What is the meaning of this strict trend? Did it emerge from within the Jewish world or was it stimulated, conversely, by external influences? Who was responsible for the effacement of the figures in the synagogues and when did these iconoclastic events occur? This book examines these phenomena through a broad historical, religious, and cultural perspective, based on visual and literary sources from Late Antique and early Muslim Palestine.

Therapeutics and Salvation: Freud and Schelling on Freedom proposes a new conceptual perspective on the history of the philosophy of freedom. The book focuses on Sigmund Freud’s theory of freedom, and its fundamental, yet uncharted, connection with the groundbreaking philosophy of the unconscious of F.W.J Schelling. The analysis radically challenges conventional liberal and rationalistic conceptions of freedom in psychoanalysis. The main argument of the book is that Freud formulated his theory of human nature with Schelling’s basic philosophical architecture, in particular Schelling’s concept of freedom, but, at the same time, subverted Schelling’s search for a new theology at the end of the latter's philosophical career. The detailed comparison of Freud’s work with the philosophy of Schelling backtracks a momentous shift from Schelling’s late theo-philosophy, at the endpoint of German Idealism, to the secular system of Freud, in which human reality ousted godly revelation and therapeutics replaced divine salvation. By delineating the move from Schelling’s God-subject relations to Freud’s human-subject relations, the book offers a new perspective on the historical evolution of German Idealism into modern secular thought.

Maimonides ends each book of his legal code the Mishneh torah with a moral or philosophical reflection, in which he lifts his eyes, as it were, from purely halakhic concerns and surveys broader horizons. Menachem Kellner and David Gillis analyse these concluding paragraphs, examining their verbal and thematic echoes, their adaptation of rabbinic sources, and the way in which they coordinate with the Mishneh torah ’s underlying structures, in order to understand how they might influence our interpretation of the code as a whole—and indeed our view of Maimonides himself and his philosophy. Taking this unusual cross-section of the work, Kellner and Gillis conclude that the Mishneh torah presents not only a system of law, but also a system of universal values. They show how Maimonides fashions Jewish law and ritual as a programme for attaining ethical and intellectual ends that are accessible to all human beings, who are created equally in the image of God. Many reject the presentation of Maimonides as a universalist. The Mishneh torah especially is widely seen as a particularist sanctuary. This study shows how profoundly that view must be revised.

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.