Commedia dell’arte, originating in Italy and proliferating on European stages from approximately 1650 to 1750, is one of the most significant and long-lasting phenomena in theatre history; its influence on all performing genres is notable throughout Western Drama to this very day. The new study From Carnival to Theatre: Structure and Chaos in the Commedia Dell'arte provides a comprehensive, deeply-researched study of the development of the genre, the establishment of the first professional troupes in Europe, their organization, their patrons and wide variety of popular and elite audiences. The study traces all aspects of the unique improvised performance: the show's space, dramatic patterns, dramatis personae, acting style, costume and stage design are re-interpreted by the attachment of the commedia dell’ arte to its double roots: the heritage of written literature, and manifestations of popular oral tradition in seasonal festivities. The book explores especially the interaction of the commedia dell'arte with the phenomenon of carnival, in its very existence as an opposition to the social structure within the liminal time and space related to the celebration. Being an authorized event, containing metaphors of annihilating the existent order, in which subversion could be substituted by amusement, the carnivalesque combined time, place and creative means into a new theatrical form: the commedia dell'arte.

Question of Place: Architecture between the Poetic and the Ethical calls for a re-understanding of the foundations of the architectural act while exposing it to phenomenological thought. Through a return to the first - and failed - encounter in the late 1970s, between phenomenology depicting phenomena in the light of human experience and architectural discourse, Edna Langenthal offers a new reading of discourse, embracing the thought of philosopher Martin Heidegger and discussing the influence of the architectural theoretician Christian Norberg-Schulz, who in her opinion missed Heidegger's contribution to her understanding. To emphasize the potential inherent in Heidegger's thought in understanding the question of place and the possibilities of dwelling in it, the author discusses the meaning of the poetic as a constitutive axis in understanding key concepts in contemporary architectural discourse. But the poetic dimension, for her, cannot exist without the ethical dimension. Through a study of the thought of Heidegger's student and critic, the philosopher Emanuel Levinas, the structure that connects an affinity between the ethical and the home and the possibilities of settling in it.

The Second Commandment’s injunction against making graven images and likenesses resonates in all facets of Jewish visuality throughout the generations. Although Jews have always created and consumed art, the attitude to figural art –anthropomorphic and zoomorphic representations – has oscillated, like a pendulum, between strict prohibition and full permissibility. Figureless Art traces a lesser-known chapter in the history of Jewish art – a period governed by the swing to extreme stringency that left its mark on Late Antique synagogues in the Land of Israel. This anti-figural trend manifested in the avoidance of anthropomorphic and zoomorphic depictions and in the deliberate obliteration of anthropomorphic and zoomorphic figures on stone carvings and mosaic carpets that adorned the synagogues. What is the meaning of this strict trend? Did it emerge from within the Jewish world or was it stimulated, conversely, by external influences? Who was responsible for the effacement of the figures in the synagogues and when did these iconoclastic events occur? This book examines these phenomena through a broad historical, religious, and cultural perspective, based on visual and literary sources from Late Antique and early Muslim Palestine.

Galit Hasan-Rokem | Dov Noy – A Centennial Anniversary Amos Noy | Three Variants of a Riddle and a Solution: In Memory of Dov Noy Few articles in this issue : Avishar Har-Shefi | On the Beginnings of the Hasidic Story Itamar Dagan | Written New Year’s Greetings According to Texts from the Cairo Geniza and Rabbinic Literature Haya Bar-Itzhak z”l | The Dead and the Survivors: Historical Legends about Women during the1648/49 Pogroms as a Female Site of Memory Hanna Cohen-Perez and Esther Schely-Newman | Sainte Laktar (el Guettar) in Tunisia and Israel: Passages through Time and Space Michael Lukin | The Traditional Yiddish Lullaby as an East-Ashkenazi Phenomenon

‏‏Deganit Berest is one of the prominent Israeli artists active today. Her many artworks span ‎between painting, photography, and installation. Her intricate works trigger and challenge ‎different interpretive moves. This book present eight of them, written by artists, philosophers, ‎curators and other scholars, unfolding a rich and diverse commentary on Berest’s works. In ‎addition to the papers, the book includes fragments written by the artist herself, unveiling ‎another perspective on the artworks, which usually remains hidden: the artist herself meditating ‎about her own works. ‎

The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous—and enormously influential—dialogue with their subject. With sweeping scope and philosophical depth, A Language of Its Own traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensable relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As ideas entered music from the contexts in which it existed, its internal language developed in tandem with shifts in intellectual and social history. Katz explores how this infrastructure allowed music to explain itself from within, creating a self-referential and rational foundation that has begun to erode in recent years. A magisterial exploration of a frequently overlooked intersection of Western art and philosophy, A Language of Its Own restores music to its rightful place in the history of ideas.

A dialogue between Michal Zmora-Cohen and Moshe Zuckermann on the development of music in the 20th century. While Zmora-Cohen criticized this development, Zuckermann defended it. The discourse has musicological, historical and philosophical aspects.

With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts---technical and commercial as well as creative---in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The essays in this collection do not attempt to to define what may well be undefinable---what ‘Jewish music’ is. Rather, they provide an original and much-needed exploration of the activities and creativity of ‘musicians of the Jewish faith’.

It has been said: " No two people have ever read the same book." This is true for literature where the reader has to imagine a world presented by words. It doesn't seem appropriate for cinema which presents a world ready-made to be seen and heard. But films, almost since their early beginnings, and especially in the recent decades, have been capable not to present, not to show, but to allude to off-screen events and images. One could say about most of the movies discussed in this book: " No two people have ever watched the same film ".

Articles: Yona Sabar | Grandpa Ephraim and Grandpa Menashe: Two Opposite Characters, Based on Personal and Communal Childhood Memories Dov Cohen | ‘The Holy Island of Chios’: New Findings Concerning the Purported Burial Place of R. YaꜤakov ben Asher (BaꜤal Ha-Turim) on the Island of Chios and Pilgrimages to His Gravesite Itamar Drori | Rabbi Israele Costa’s ‘Miḳweh Yisrael’ (1851): The Beginning of the Adapted Jewish Story for Youth Carmela Abdar | Reflections on Magical Texts on Jewelry and Amulets of Jewish Women and Children from Yemen and Habban Tom Fogel | JaꜤle – Yemenite Nostalgia in a Jerusalem Café Jacqueline Laznow | ‘I Recognized the Holidays According to the Food’: Tradition and Memory in the Jewish Community of Argentina Reviews: Eli Yassif | The First Book of Jewish Jokes: The Collection of L. M. Büschenthal, ed. Elliott Oring, Bloomington, IN: Indiana University Press, 2018 Dudu Rotman | Vered Tohar, The Book of Tales, Sermons and Legends. Anthology of Hebrew Stories from the Print Era: An Annotated Edition, Tel Aviv: Hakibbuz Hameuchad 2017, 201 pp.

Richly illustrated and meticulously documented, this is the first comprehensive survey of synagogue textiles to be available in English. Bracha Yaniv, a leading expert in the field of Jewish ceremonial textiles, records their evolution from ancient times to the present. The volume contains a systematic consideration of the mantle, the wrapper, the Torah scroll binder, and the Torah ark curtain and valance, and considers the cultural factors that inspired the evolution of these different items and their motifs. Fabrics, techniques, and modes of production are described in detail; the inscriptions marking the circumstances of donation are similarly subjected to close analysis. Fully annotated plates demonstrate the richness of the styles and traditions in use in different parts of the Jewish diaspora, drawing attention to regional customs. Throughout, emphasis is placed on presenting and explaining all relevant aspects of the Jewish cultural heritage. The concluding section contains transcriptions, translations, and annotations of some 180 inscriptions recording the circumstances in which items were donated, providing a valuable survey of customs of dedication. Together with the comprehensive bibliography, inventory lists, and other relevant documentation, this volume will be an invaluable reference work for the scholarly community, museum curators, and others interested in the Jewish cultural heritage.

The charm of Agnon’s work lies in an inebriating combination of the funny and the serious, in his famous irony that knocks down every unquestionable certainty and even its very self. Agnon’s humor eludes rhetoric borderlines, does not tolerate confines of a genre and disobeys simple interpretative solutions. In his new book, Roman Katsman suggests a new literary-anthropological method to break down Agnon’s complicated ‘laughter code’—a method based upon the cultural and semiotic interpretation of symbols. His reading of a wide selection of Agnon’s works, including his four major novels, reveals an entire world of his laughter symbols—a world of violence and sacredness, tragic bewilderment and eruption of new possibilities. In this world, arks fly, princes disappear, serpents eat their own tails, angels and demons dance, illusion turns into reality, and other foolish and cruel miracles occur. The research looks for a solution to the riddle: should Agnon's stories be considered serious or ironic, religious or secular, scornful or emphatic, archaic or modernist; or perhaps the reader is intended to swell with pathos or burst into laughter—and how come Agnon always has the last laugh?