The Politics is a foundational work of Greek philosophy and a cornerstone of Western political thought. It is an investigation into the nature of the polis (the city-state), which Aristotle defines as a partnership of a certain kind among similar people for the sake of the best attainable life. In this inquiry, Aristotle seeks to determine how a virtuous and flourishing city is constructed and sustained. In Books VII–VIII - presented here for the first time in Hebrew - Aristotle depicts a vivid portrait of the ideal Greek city, and formulates a guide for the establishment of a flourishing city.

At the heart of this book’s ten chapters stands the rich, multifaceted figure of the mother. Are the Jewish mother and the Israeli mother one and the same, or does each have her own distinct identity? What are the enduring and evolving hallmarks of this maternal figure, and how are they reflected in songs in Hebrew and Yiddish? This is a guided journey through the fascinating, dizzying transformations of beloved and half-forgotten songs and melodies. The book's close readings bring these songs to life, offering a window into the worlds of their creators and shedding light on the events and processes that have shaped the Jewish people and Israeli society across the generations. Brimming with information, insights, and delightful curiosities, and accompanied by dozens of illustrations, this book is the fruit of meticulous research, written in clear, fluid, and utterly engaging prose. It is a book every mother will want to read, and that every son and daughter will want to give her as a gift of love.

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.

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.

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.

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.

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.

Sabbatian Songs of Faith: Ritual, Community, and Interreligious Encounters in the Late Ottoman Empire unveils the hidden world of the Ma’aminim—followers of the 17th-century Jewish messianic figure, Sabbatai Tzvi. After Tzvi’s dramatic conversion to Islam in 1666, many of his followers returned to mainstream Judaism. However, a dedicated group followed in his footsteps, converted to Islam, and established a new path, blending Sabbatian, Jewish, and Islamic elements within a distinct Ottoman-Sephardi cultural framework. For centuries, the Ma’aminim maintained secrecy, forming distinct communities (known as the Dönme) and playing a multifaceted role in Jewish and Ottoman histories. This book sheds new light on their social life and esoteric traditions through a comprehensive, interdisciplinary analysis of previously mostly unexamined mystical manuscripts in Ladino, Hebrew, and Ottoman Turkish. It explores their sacred songs, radical theology, rituals, folklore, and musical practices as reflections of communal reality and developments. By placing the Ma’aminim within a broader historical and cross-cultural perspective, Sabbatian Songs of Faith offers fresh insights into religious transformation, intercommunal exchanges, and the interplay between faith, ritual, and popular culture in the late Ottoman world and beyond.

The economy of symbolic goods is at the heart of Pierre Bourdieu's sociology. In Le marché des biens symboliques , published in 1971, Bourdieu lays the foundation for his theory of the conditions of production and distribution of cultural products. This text is of crucial importance for understanding his later writings on artistic fields and cultural practices. Against the illusion that artworks are independent from social conditions, Bourdieu reminds us that these are the results of a production process that involves not only the individual artist or writer, but a whole system of intermediaries (galleries, publishers, etc.) and institutions of consecration (criticism, prizes, academies, etc.). However, in contrast to the Marxist approach, which reduces works to a "reflection" of class relations, Bourdieu argues that the fields of cultural production enjoy relative autonomy. In this text, Bourdieu constructs the concept of the field for the first time systematically, using Max Weber's concept of legitimacy and his sociology of religion: the symbolic value of cultural works is based on trust and the accumulation of symbolic capital. Bourdieu also combines the concept of the field here for the first time with other concepts that he was developing then - "reproduction," "symbolic violence," "habitus." Drawing on art historians and on examples from empirical research he was conducting, the text also proposes a socio-historical study of the conditions for the emergence of the fields of art and literature as relatively autonomous worlds.