The book examines the ideological motivations behind the selection of representations for Israeli banknotes and coins. The research is based on the proceedings and correspondence of the Bank of Israel Banknotes and Coinage Planning Committee from its inception in 1955 to 2012. The study reveals the mechanisms in which the legal tender is exploited as an expression of banal nationalism, implementing national emblems in an unnoticed manner. Banal nationalism is one of three theoretical frameworks we adopted. The other two are the long history of the Jewish people in the territory which today is the State of Israel; and selective tradition as a means for designing a nation. The book comprises eight chapters: theoretical overview; analytical portrayal of the working methods of the Bank of Israel Banknotes and Coinage Planning Committee; a study of the first designed “Allegoric Figures Series” (1959); analysis of the selection of human figures; the construction of the state borders through an array of landscape images; the reflection of the shifting boundaries in the changing representations in Jerusalem; the selection of archaeological emblems as a proof for national continuity; and the symbolic role of flora as identification with the land.

Karaite Judaism emerged in the ninth century in the Islamic Middle East as an alternative to the rabbinic Judaism of the Jewish majority. Karaites reject the underlying assumption of rabbinic Judaism, namely, that Jewish practice is to be based on two divinely revealed Torahs, a written one, embodied in the Five Books of Moses, and an oral one, eventually written down in rabbinic literature. Karaites accept as authoritative only the Written Torah, as they understand it, and their form of Judaism therefore differs greatly from that of most Jews. Despite its permanent minority status, Karaism has been an integral part of the Jewish people continuously for twelve centuries. It has contributed greatly to Jewish cultural achievements, while providing a powerful intellectual challenge to the majority form of Judaism. This book is the first to present a comprehensive overview of the entire story of Karaite Judaism: its unclear origins; a Golden Age of Karaism in the Land of Israel; migrations through the centuries; Karaites in the Holocaust; unique Jewish religious practices, beliefs, and philosophy; biblical exegesis and literary accomplishments; polemics and historiography; and the present-day revival of the Karaite community in the State of Israel.

Among the articles in this issue: Yair Lorberbau | On Rules and Reason on Law and Halakhah - A Fresh Conceptual Framework for the Study of the Rationale of the Commandments Shalom Zadik | The Status of the Tormented Heretic according to Rabbi Hsdai Crescas and his Relation to Abner of Burgos Hillel Ben-Sasson | The concept of Repentance in the Zohar Itzhak Brand | Commandments between Man and God and between Man and his Fellow: A Study in the Dualistic Thought of R. Isaac Abarbanel Eliezer Baumgarten and Uri Sfrai | Kabbalah and Marriage Customs in Early Modern Italy Dvir Warshavski | Zot Torat Ha-'Ola : The Belief in the Creation of the World in Rema's Thought

Bilha Shilo unfolds the complex plot of the extraordinary success of the restitution of the collections of YIVO (Yidisher Visnshaftlekher Institut) – the prestigious research institution of the Yiddish language and culture. A Drama in Acts traces the fragments of post-Second World War YIVO, which meanwhile moved from Vilna to New York - in restituting its cultural property in the West, in the American occupied zone, and documents its bitter failure in the Soviet occupied territory in the East. The book explores, through the question of cultural property ownership, a range of historical issues: the development of modern Jewish culture in Eastern Europe, the advance of Yiddish as a modern literary language, the history of Jewish culture under communist regime, and its extermination under Nazi rule. Other issues addressed are the demise of Jewish culture in Eastern Europe following the division of Europe and the Cold War, and lastly - the conflict between Israel and the Diaspora over the inheritance of Jewish European culture. The book is published in the series "Hefez", which presents the latest research on Jewish cultural property and its demise, in German by the Dubnow Institute, Leipzig, and in Hebrew by Magnes Press.

Articles in this issue: Menahem Kahana| 'וכולה מתניתין': Who were the Abbreviators of Mishnayot in the Tannaitic Midrashim? Robert Brody | How many editions of his book Oaths (Kitab al-Ayman) did R. Hayya Publish? Warren Zev Harvey | Did Ibn Gabirol Write Adon 'Olam? Adiel Breuer | Hidushim on Tractate 'Eruvin Attributed to Hame'iri Moshe Yagur | Shaving Hair and Pairing Nails: The Origins and Transmutations of a Unique Rite of Passage in Medieval Judaism

The Intention of the Torah and the Intention of Its Readers surveys how traditional Jewish exegesis throughout the ages has coped with the literary and topical difficulties found in the Torah, in the context of the belief in the Torah’s divine source and sanctity. “All problems stem from expectations.” Readers and exegetes of the Torah throughout the ages supposed, and many continue to suppose, that the Torah is perfect and flawless. They expect the Torah to reflect superior and timeless standards of morality, as well as precise and eternal theological principles. They believe that everything written in the Torah is true, essential, and well thought out. The history of Torah scholarship from the end of the Second Temple period until our day can be conceived of as an uninterrupted continuum of challenges which this unique and, frankly, impossible level of expectations has imposed upon its readers and exegetes. These are glorious attempts to bring the Torah nearer to the time and place of its devotees and to adapt its meaning to theirs. This book is the first attempt of its kind to examine the history of the enterprise of Torah exegesis from a distance. It contains an examination of dozens of key texts from the end of the Second Temple period, from Talmudic and Midrashic sources, dicta of medieval Sages, and the reflections and research penned by scholars of the Enlightenment (Haskalah) and the modern era. A bird’s eye view blurs the details which differentiate between these texts, enabling us to more easily focus upon the similarities; this point of view also allows us to note the central crossroads of change and development which characterize each period. This is an indispensable book for anyone interested in the changing nature of biblical exegesis over the generations.

Philo was the first Jewish philosopher who left behind one of the richest bodies of work from antiquity, yet his personality and intellectual development have remained a riddle. Maren Niehoff presents the first biography of Philo, arguing that his trip to Rome in 38 CE was a turning point in his life. He was exposed then not only to new political circumstances but also to a new cultural and philosophical environment. The Intellectual Biography traces Philo's trajectory from his early days as a Bible interpreter in the Jewish community of Alexandria to his diplomatic and intellectual activity in Rome, when he engaged Roman philosophy. Anticipating Sa'ada Gaon and Maimonides by almost a thousand years, Philo creatively presents Jewish philosophy in the context of contemporary culture and thought.

Pesikta de-Rav Kahana (below: Pesikta ) is arguably the most structurally complex midrashic composition in the landscape of the classic midrashim . The Pesikta was probably composed in fifth century Palestine and consists of sermons on special Sabbath and festival Torah and Haftarah readings. The work was designed to influence the atmosphere of the synagogue during events of calendrical significance and is therefore of great importance for reconstructing the spiritual and cultural encounter that took place between the sages and their synagogue audience. The Pesikta , whose very discovery and reconstruction were beset by multiple obstacles, remains in some ways an unsolved mystery and many questions concerning the context in which it was created continue to occupy scholars to this day. Up until now, the scholarly world has produced only partial and incomplete studies of the Pesikta and its formation. This book, “My Children, Read this Passage Every Year”: Composition and Meaning in Pesikta De-Rav Kahana , is a comprehensive attempt to fill this gap and afford a glimpse into the workshop of the Pesikta's editor.

Articles in this issue: David Henshke | Ma'amadot: A First Stage in the History of Rabbinic Prayer? Hannan Mazeh | Amanos or Ammana: An Emerging Interpretative Tradition and Maimonides' Emendation of the Mishnah Elyashiv Cherlow | The History of the Text of Talmud Yerushalmi: Studies of the Genizah Fragments Yehuda Zvi Stampfer | Sa'adia Gaon's Interpretation of the thirteen Hermeneutical Principles according to the Arabic Source: Commentary, Tendencies, and Unknown Sources

Midrash Aggadat Bereshit is a Midrash for the Book of Genesis, which has a unique structure. It includes 28 units, each composed of three chapters: a Torah chapter - on a verse from Genesis; a Prophets chapter - on a verse from Prophets; and a Ketuvim chapter - on a verse from Psalms. This division reflects the Torah reading at Shacharit on Shabbat, the Haftara that follows, and the reading of Ketuvim during the Shabbat Mincha.

The book offers a fresh view on the life of Jews under National Socialism. Focusing on the spatial and temporal aspects of the changes brought about by the new regime, it highlights the “tactics” utilized by German Jews to cope with the new reality, make sense of it, and rethink their position vis-à-vis German nationality. Based on a rich theoretical framework from various fields in social and cultural studies (human geography, environmental psychology, sociology of time and so on) the book examines German Jews’ reflections on their new experiences through the paradigms of "lived space" and "lived time." In discussing two main types of sources—private (diaries, correspondences and memoirs) and public (Jewish press)—the book sheds new light on the topics of maintaining Jewish agency under Nazism; the possibility and forms of Jewish defiance; and scope (and limits) of Jewish awareness of the processes that reshaped Germany’s approach to its Jewish population. The book’s analysis of Jews’ reflections on the spatial and temporal aspects of life under Nazism portrays an intricate endeavor to understand the new reality, adjust to it, and answer its increasing challenges.

This book examines the nature, methods, and contribution of Jewish feminist art to the various spheres of art, society, and religion and proposes a theoretical framework for its understanding. The Jewish religious feminist art movement has developed since the late 1990s in the two major Jewish centers—the United States and Israel. This is the first book to treat this phenomenon in a broad and systematic manner and discuss its critique of Jewish tradition, Halakha (religious law), and Jewish religious institutions. The works are analyzed in light of Jewish feminist thought and in comparison with religious Jewish feminist activist practices. The main tool for examining the social effect of the art works is analysis of their reception and of the public discussion that followed. Devoted Resistance focuses on the works of a number of prominent women artists who critique the Jewish religious text, establishment, and rituals. The religious text is the subject of the work of Helène Aylon (US, b. 1931), who marked problematic biblical passages with a pink highlighter, and Nechama Golan (Israel, b. 1947), whose work is critical of the Talmudic debate over women as property in the contraction of marriage (kiddushin). Nurit Jacobs Yinon (Israel, b. 1972) and Hila Karabelnikov Paz (Israel, b. 1984) confront the religious establishment and in particular the exclusion of women from the religious court that oversees the ritual immersion of women converts. The work of Andi Arnovitz (born in the US, 1959, immigrated to Israel, 1999) points up the pornographic dimensions of the extreme modesty laws as interpreted by contemporary halakhic decisors. Hagit Molgan (Israel, b. 1972) demonstrates the male structuring of religious laws regarding menstruation, and Mierle Laderman Ukeles (US, b. 1939) breaches the religious taboo by presenting ritual immersion following menstruation as a dignified ritual to be embraced. The combined study of Jewish feminist art created in the United States and in Israel and the comparison of these artists with other feminist artists, both Jewish and non-Jewish, illuminates local contexts, similarities and differences in the development of Jewish feminist art in Israel and in the US, and the influences of globalization, diasporism, and immigration on the art.