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.

How did a group of charismatic, apocalyptic Jewish missionaries, working to prepare their world for the impending realization of God’s promises to Israel, end up inaugurating a movement that would grow into the gentile church? Committed to Jesus’s prophecy—“The Kingdom of God is at hand!”—they were, in their own eyes, history’s last generation. But in history’s eyes, they became the first Christians. In this electrifying social and intellectual history, Paula Fredriksen answers this question by reconstructing the life of the earliest Jerusalem community. As her account arcs from this group’s hopeful celebration of Passover with Jesus, through their bitter controversies that fragmented the movement’s midcentury missions, to the city’s fiery end in the Roman destruction of Jerusalem, she brings this vibrant apostolic community to life. Fredriksen offers a vivid portrait both of this temple-centered messianic movement and of the bedrock convictions that animated and sustained it.

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.