Ta’am HaTe’amim is a messianic treatise in the Hebrew language composed by the Catholic French orientalist and mystic Guillaume Postel (1510-1581). Ta’am HaTe’amim is a relatively unknown Renaissance document, which sheds light on unique intellectual and political stands prevalent among sixteenth-century Catholic reformators . Throughout the treatise, Postel refers to several famous historical issues, depicting them through his own particular perspective, which was based upon a blend of Joachite millenarism, French patriotism and Jewish Kabbalah. In addition, Ta’am HaTe’amim is a rare example of Hebrew writing by an Early Modern Christian Scholar, and it is characterized by remarkable linguistic traits expressing Postel’s theological concepts regarding languages in general and Hebrew in particular.

Many tend to think of post-Zionism Jerusalem as a forsaken provincial Ottoman town, entangled in a net of hatred originating in its various religions. This image coincided with the Zionist redemption vision, which sought to revive the deserted land. Lemire, studying Jerusalem of the late nineteenth and early twentieth century from within its own context – the writings of its inhabitants, documents of its governing bodies, maps, and economic reports – depicts a completely different picture. For over seventy years, members of the different religions - Jews, Christians, and Muslims - lived a life of incredible coexistence. Mutual respect and reciprocation dominated the city and its enlightened Ottoman rulers were aware of the needs of its various communities. Only the rise of nationalism and the city’s partition into quarters destabilized its unique social fabric. Vincent Lemire did not write a nostalgic document about a long-lost past, but rather illustrated an important political outlook, demonstrating that the national and religious animosity in Jerusalem is not necessarily inherent to the city.

This book is the first attempt to review the history and the fall of the Jewish community that existed in Beit She' an from the late 19th century until the outbreak of the Arab Revolt in 1936. The story of the community, which has been almost completely forgotten by the public and academic consciousness, is based on an initial study of several public and local archives, as well as a thorough study of dozens of primary and secondary sources of various types: press clippings, academic and autobiographical sources, oral interviews and others. Beside presenting the history of the community itself, which includes the unique challenges it experienced during its fifty years of existence and the organizational and ideological processes which characterized it, the study is also a base for a better assessment and understanding of the several small Jewish communities that existed during this period in a number of Arab cities and towns: Be'er Sheva, Ramle, Nazareth, Samakh, Jericho and others. This is accomplished by comparing the events in Beit She' an to those which took place in other communities, while trying to identify the factors that led to the collapse of these communities during the Mandate period, and to the withdrawal of the Zionist movement from its substantial support to their continued existence. The book also deals with different questions of ethnic and national Jewish identity, the relations between marginal communities and the leading national institutions, and issues relating to Zionist historiography over the past century.

Early Modern European Civilization and Its Political and Cultural Dynamism presents Schilling's unique contribution to understanding the formation of the nation-state system in Europe. Schilling coined the concept of "confessionalization" - the consolidation of the regional churches and the deepening of Christianity into its nuances in Central and Western Europe, a process that began following the Reformation in the sixteenth century and led to the shaping of national identities. Within the framework of these developments, Schilling examines the effects of religious immigration and the role played by religious minorities in changing society, economy and culture in the early modern period.

Martin Luther, the initiator of the Protestant Reformation, presents the principles of his theological and political theory in the four treatises before us. In the first essay from 1917, also known as Ninety-Five Theses , Luther condemns the Catholic custom of selling plenary indulgences, already expressing insinuated criticism against the Catholic Church and Pope for their pretentions attempts to mediate between the believer and God. In the three essays he wrote in 1520, Luther undermines the foundations of the Catholic Church and its medieval development. This approach had a tremendous influence on all countries that later became Protestant.

The Stage as a Temporary Home : On Dzigan and Shumacher's Theater (1927-1980) has been designated as the winner of the prestigious Shapiro Award for 2019 for the best book in Israel Studies The Stage as a Temporary Home takes us through the fascinating stages in the life and career of the duo Shimen Dzigan and Isroel Shumacher , over the course of half a century - from the beginning of their work at the Ararat avant-garde Yiddish theater in Łodz, Poland, and to their Warsaw theater, where they produced bold, groundbreaking political satire. The book further discusses their wanderings through the Soviet Union during the Second World War and their attempt to revive Jewish culture in Poland after the Holocaust, and finally describes their arrival in Israel, first as guest performers and later as permanent residents. Despite the restrictions on Yiddish actors in Israel, the duo insisted on performing in their own language and succeeded in translating the new Israeli reality into unique and timely satire. In the 1950s, they voiced a political and cultural critique of a kind that was not heard on any of the Hebrew stages. After they parted ways, and following the death of Shumacher in 1961, Dzigan continued to perform on his own and with other Israeli artists until his death in 1980 . The book is based on rare recordings, transcriptions, programs, personal diaries, letters, photographs, oral testimonies, and critical articles, all of which come together to create the first critical portrait of this extraordinary duo. The book also examines their art, the connection between theater and politics, and the complex relationship between majority culture and minority language . The study includes several valuable indexes: of titles of programs and plays, of the artists who participated in them, of writers and the drafts they wrote, of actors and the programs in which they participated, and a general name index. The book also includes a facsimile of the manuscript Der Nayer Dybbuk [The New Dybbuk]. Click here for the English edition, published by De Gruyter in collaboration with Magnes Press

Ever since its emergence in the thirteenth-century , Jewish Kabbalah, and most prominently – the Book of Zohar, has captured the hearts of Jewish as well as non-Jewish readers. Significant interest in Kabbalah is evident in the Renaissance, when various Christian Scholars accepted the traditional Jewish narrative, according to which the corpus of medieval Jewish Kabbalah is the Oral Law given to Moses on Mount Sinai. The sixteenth century is rightfully considered the golden age of this kind of Christian interest in Jewish Kabbalah. During this period a group of scholars, high-rank priests, and secular rulers were familiar with Kabbalistic notions, some of these Christians read the Kabbalistic treatises, whether in their original versions or in translation, some even composed commentaries or translated them into Latin, and most important - they incorporated Kabbalistic notions into their own theological and messianic conceptions. Among Kabbalistic writings, most of these thinkers' attention was drawn to the Zohar, and some of them attempted to translate parts of it into Latin. The first comprehensive, though not complete Latin translation of the Zohar was composed by the French orientalist and mystic Guillaume Postel in the middle of the 16th century. Postel was a prolific and original thinker, who developed an elaborate messianic theological schema, which he based upon Kabbalistic notions. Convinced, as he was, that the Zohar is the perfect and ultimate expression of his own messianic concepts, he embarked on his life project – producing a Latin translation and commentary on the Zohar. This fascinating commentary on the Zohar never appeared in print nor was it ever translated into any language. In Judith Weiss's On the Conciliation of Nature and Grace substantial parts of Postel's Commentaries on the Zohar are presented in the original Latin vis a vis her Hebrew translation, accompanied by introductions and notes, elucidating Postel's unique perception of the Zohar and the Kabbalah.

Baruch Kimmerling (1939-2007) was one of Israel's outstanding critical sociologists. In this volume, Israeli and Palestinian scholars of several disciplines and generations offer a series of studies on Israel and Palestine, past and present, in dialogue with the research agenda Kimmerling has advanced. Essays discuss Zionism and militarism, frontier and colonization, social protest and the limits of democracy, the sociology of fear and the politics of home -- and Kimmerling's own trajectory.

Israeli Religious Zionism underwent dramatic changes following the Six-Day War. The authors of this title argue that the war generated a trend of maturity that destabilized the fundamental ethe and myths of the traditional Religious Zionism ideas.

Dr. Amitai Mendelsohn investigates the various appearances of the figure of Jesus in Israeli art as a significant, multifaceted and ever-present phenomenon. Through works by prominent artists from different generations, it discusses in depth the evolving attitudes of Jewish, Zionist pre-state, and Israeli art towards Jesus, from the second half of the nineteenth century until today: from artists laboring "In the shadow of the Cross" to artists who saw Jesus as a symbol of the rebirth of the Jewish people in the land of Israel, and artists whose engagement with Jesus is detached from the complex and fraught relations between Christianity and Judaism, and who see him as symbolizing the suffering artist. The book examines the different directions taken by Israeli artists in portraying the figure of Jesus, and proves the extent of this phenomena and its ever present importance.

Dr. Amitai Mendelsohn investigates the various appearances of the figure of Jesus in Israeli art as a significant, multifaceted and ever-present phenomenon. Through works by prominent artists from different generations, it discusses in depth the evolving attitudes of Jewish, Zionist pre-state, and Israeli art towards Jesus, from the second half of the nineteenth century until today: from artists laboring "In the shadow of the Cross" to artists who saw Jesus as a symbol of the rebirth of the Jewish people in the land of Israel, and artists whose engagement with Jesus is detached from the complex and fraught relations between Christianity and Judaism, and who see him as symbolizing the suffering artist. The book examines the different directions taken by Israeli artists in portraying the figure of Jesus, and proves the extent of this phenomena and its ever present importance.