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.

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.

Imagine 100 high school-aged teens – boys and girls, city and suburb dwellers, “heavy smartphone users” and regular users – disconnecting from their smartphones for one whole week. It may sound fictional, but this exactly is what occurred as part of a fascinating experiment that we recently conducted, which serves as the basis of this book. For a long and challenging week, these teenagers documented their experiences in personal diaries, and described them in personal and group interviews. They described their physical and psychological feelings about life without their devices, the effect that disconnecting from their devices had on their social life, their family life, and their management of time and routine tasks. The participants described how their lives looked without a smartphone in school and during their free time, how they missed their device and felt its absence upon waking in the morning and in the moments before falling asleep, and how they even felt it in their dreams, which were filled with longing for the digital friend that had been taken from them. This book provides deep insights into the role of the smartphone in the daily lives of teenagers, and the culture of “cellphones natives,” members of Gen Z. The book offers a new point of view on questions occupying researchers, parents, educators, and professionals: how and why did the smartphone become the dominant medium of communication in the lives and culture of teenagers? How does it shape and influence their daily lives? Can the relationship with the smartphone really be characterized as dependence and perhaps even as an addiction, as many claim, or is it relationship of a completely different nature? In a world full of technology, the aspiration to better understand teenagers and even ourselves requires acknowledging the ways in which these technologies are woven into every moment of our daily lives, for good and for bad.

This wide-ranging book shows how, since the first centuries of the Christian era, gentiles have associated Jews with noise. The study focuses on a “musical libel" - a variation on the Passion story that recurs in various forms and cultures in which an innocent Christian boy is killed by a Jew in order to silence his “harmonious musicality.” In paying close attention to how and where this libel surfaces, Ruth HaCohen covers a wide swath of Western cultural history. The author combines in her analysis the perspectives of musicology, literary criticism, philosophy, psychology, and anthropology, tracing the tensions between Jewish “noise" and idealized Christian “harmony” and their artistic manifestations from the high Middle Ages through Shakespeare, Bach, Wagner, George Eliot, Kafka, Schoenberg and others. She explores testimonies by outsider visitors of synagogues, operas, caricatures, and Nazi movies. Her analysis shows how entrenched aesthetic-theological assumptions have persistently defined European culture and its internal moral and political orientations. Following the publication of the book, the author received two prestigious awards: the Polonsky Award for Creativity and Originality in the Humanities, and the Kinkelday Award from the American Musicological Society for the best book in musicology published in 2011 .

The study of liturgy is intrinsically interdisciplinary and comprises elements of music, drama, theater and devotion that are of great consequence to believers and scholars far and wide. Liturgy is both history and theology, purporting to reflect and propagate values that inform individuals and communities alike, playing a vital role in the construction of sacred and lay memory and identity. As a multi-sensory experience, liturgy maintains a dynamic relationship with the surrounding space and its visual components, including art, artifacts and architecture. The essays in this book examine diverse aspects of liturgy and the arts, and were written by scholars working in the disciplines of musicology, social and cultural history, art history, material culture, and the history of the Jews and Christians in the Middle Ages and beyond. The articles engage in a comparative and interdisciplinary discourse, in order to contextualize the liturgical practices within the production of medieval cultural memory, and within the symbolic traditions expressed through liturgy and the arts. Primary sources include texts, rituals, music and visual media from Western Europe (Christian and Jewish) and the Latin Levant. The study of written, visual and musical constructs identifies the values and ideals conveyed and instilled through Jewish and Christian liturgical commemoration, and explores how these activated the faithful's idea of community and their place within it.

For some, on Yom Kippur the fast pace of life stops and the needs of the body seem to fade away, while the person stands before God. On this day, during the time of El'azar Berabbi Qillir the people of the Land of Israel used to stand at the synagogue throughout the entirety of the holy day, listening to the public representatives who prayed and prayed. The material for these long prayers was supplied by the poets, with El'azar Berabbi Qillir at the forefront. He renewed his piyyutim time and time again, presenting to his listeners new and spectacular Kedushtaot meant to replace the former poems. In these works he gave a voice to the audience standing at the doorstep and anticipating redemption. Other than descriptions of prayers and asking for forgiveness, the piyyutim include a variety of themes like the work of the High Priest at the Temple on Yom Kippur; the praise of God and His greatness, often in comparison to the futility of man; and the story of Elijah the Prophet on Mount Carmel and his prayer. The patriarchs are also present in almost all the works, with the angels joining the prayers of humans. This is only a taste of the astounding wealth found in the piyyutim in the book.

The two decades since the last authoritative general history of Dutch Jews was published have seen such substantial developments in historical understanding that new assessment has become an imperative. This volume offers an indispensable survey from a contemporary viewpoint that reflects the new preoccupations of European historiography and allows the history of Dutch Jewry to be more integrated with that of other European Jewish histories. Historians from both older and newer generations shed significant light on all eras, providing fresh detail that reflects changed emphases and perspectives. In addition to such traditional subjects as the Jewish community’s relationship with the wider society and its internal structure, its leaders, and its international affiliations, new topics explored include the socio-economic aspects of Dutch Jewish life seen in the context of the integration of minorities more widely; a reassessment of the Holocaust years and consideration of the place of Holocaust memorialization in community life; and the impact of multiculturalist currents on Jews and Jewish politics. Memory studies, diaspora studies, postcolonial studies, and digital humanities all play their part in providing the fullest possible picture. This wide-ranging scholarship is complemented by a generous plate section with eighty fully captioned colour illustrations.