The book Shamanism and Literary Criticism deals with the unique attention that scholars of art and literature pay to the object of their study. This specific attention is based on a communitarian approach, a special type of research empathy, and a contemplation radically focused on literature, art, and the community of its readers. What do scholars of literature do in a community where literature is created, read, and interpreted by them? What is the attitude of these scholars to literature and its readers? What is the role entrusted to them by their community? This book offers a new theory about the attitude of the study of literature toward literature, art, and communality. It illustrates the theory and its features as a method of research and interpretation in the works of Uri Nissan Gnessin, Micha Yosef Berdyczewski, Shimon Halkin, A. B. Yehoshua, Aharon Appelfeld, Dahlia Ravikovitch, Ronit Matalon, Orly Castel-Bloom, and Anna Hermann.

The Western Wall—Judaism’s holiest site—occupies a prominent position in contemporary Jewish and Israeli discourse, current events, and local politics. In The Western Wall: The Dispute over Israel's Holiest Jewish Site, 1967–2000 , Kobi Cohen-Hattab and Doron Bar offer a detailed exploration of the Western Wall plaza’s evolution in the late twentieth century. The examination covers the role of archaeology, attempts to design the space, the Wall’s transformation as an Israeli and Jewish symbol, and the movement to open it to a variety of Jewish denominations, studying the central processes and shifts that took place at the Western Wall during the three decades that followed the Six-Day War, a relatively short yet crucial chapter in Jerusalem's extensive history.

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 architectural-architectural scholar Norteberg Which 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 Levins, 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.

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 phenomena 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.

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 indispensible 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 dimensions.

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 ".

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?

Bearing Witness to the Witness examines the different methods of testimony given by trauma victims and the ways in which these can enrich or undermine the ability of the reader to witness them. Years of listening to both direct and indirect testimonies on trauma have lead Dana Amir to identify four modes of witnessing trauma: The “metaphoric mode”, the “metonymic mode,” the “excessive mode”, and the “Muselmann mode.” The author thus demonstrates the importance of testimony in understanding the nature of trauma, and therefore how to respond to trauma more generally in a clinical psychoanalytic setting. In order to follow these four modes of interaction with the traumatic memory, the various chapters of the book present a close reading of three genres of traumatic witnessing: Literary accounts by Holocaust survivors, memoirs (situated between autobiographic recollection and fiction) and ‘raw’ testimonies given by Holocaust survivors. Since every traumatic testimonial narrative contains a combination of all four modes with various shifts between them, it is of crucial importance to identify the singular combination of modes that characterize each traumatic narrative, focusing on the specific areas within which a shift occurs from one mode to another. Such a focus is extremely important, as illustrated and analysed throughout this book, to the rehabilitation of the psychic metabolic system which conditions the digestion of traumatic materials, allowing a metaphoric working through of traumatic zones that were so far only accessible to repetition and evacuation.

Replacing Myself with Myself is the fifth selection of Michael Handelzalts's weekly columns, written and published in the Haaretz newspaper between June 2005 and November 2008. Anchoring his amused musings in the headlines, he ponders, among other things, on the kind of fruit with which the Snake and Eve had tempted Adam in the Garden of Eden, on the virtues of good spirit, and on other matters, most of them highly immaterial. A selection of his columns, Histoires d’en lire, was published in French in 2001 by Gallimard.

Music, which speaks in the language of tones, tends to elude attempts at a description in words. Precisely for this reason, perhaps, it has always posed a great challenge to authors, who have been writing musical works and performances throughout the generations. Contrary to what might be expected, literature is far from unanimous in praising music. Frequently, it assigns it dark powers and presents it as dangerous. This two-volume study is the most massive attempt yet to survey the moment musicaux (musical moments) of world literature. Volume I contains a thematic mapping of some 250 literary representations of music; volume II offers an in-depth analysis of 30 of them .