A Guide to Jewish Warsaw 1938 is an extraordinary book, describing a place that no longer exists: Jewish Warsaw was, as is well known, utterly destroyed in World War II. And yet, the book seeks to pretend as if everything is still intact, and it is possible to go on a tour following it or embark on an imaginary journey. Every detail is based on information pertaining to Jewish Warsaw in 1938 from countless sources: newspapers, literature, travel guides, written and oral memoirs, archives, interviews, films, and exhibitions. A Guide to Jewish Warsaw 1938 seeks to reveal the beauty hidden from the eye in the largest Jewish city in Europe before the war. The acquaintance with Jewish Warsaw is made through general and useful introductions, describing its history, its beliefs and opinions, its unique language, and its tastes and smells. At the center of the book are seven walking tours, revealing the city's delights: the antique bookstores on Świętokrzyska Street; the buffet at the Writers and Journalists Association at Tłomacka 13; the "Maccabi" swimming pool and the Bund's sports field; cantorial music at the Great Synagogue and Hasidic melodies in the Modrzyc courtyard in the resort town of Otwock; the summer terrace at the Rubinchik cafe, opening onto Krasiński Garden, "the Jewish Garden"; modern marble sculptures in the cemetery; the "Tel Aviv" cafe on Nowolipie Street; the treasures in the Jewish Museum; courtyards that are a world of their own on Nalewki Street and its surroundings, and much more.

The Italian commedia dell’arte troupes roamed across Europe for two hundred years, captivating wide and diverse audiences. The performances of the commedia dell’arte were improvised, as the actors executed on stage a concise outline of a play, called "scenario". This book presents, for the first time in Hebrew translation, complete scenarios written by one of the greatest men of the Italian Renaissance theater, Flaminio Scala. The scenarios are accompanied by annotations and a comprehensive essay that reviews Scala’s life and work, and presents his scenario as a perfect recipe for comic improvisation. The book will therefore be of interest to theatre enthusiasts and scholars alike, and will provide directors, actors, and acting students with new and refreshing tools for staging comedies.

Muslim beliefs have inspired charitable giving for over fourteen centuries, yet Islamic history has rarely been examined from this perspective. In Charity in Islamic Societies , Amy Singer explains the basic concepts and institutions of Muslim charity: the obligatory annual payment of zakat together with voluntary donations of all sizes, undertaken at every level of society, and across the span of individual lifetimes. Charitable endowments – established by rulers, wealthy individuals, and even those of more modest means – shaped Muslim societies, cultures, and landscapes in ever era. This book demonstrates how historical circumstances, social status, gender, age, and other factors interacted with religious ideals to produce a vast array of charitable practices, from the early days of Islam to the present. Relying on evidence from written texts, buildings, images, and objects to anchor the discussions in each chapter, the author explores the motivations for charity, its impact on the rich and the poor, and the politicization of giving, arguing that the study of philanthropy affords a unique prism through which to examine the past.

In this issue: Diego Rotman | The Sukkah and Its Double: Copies, Variants, and the Stereoscopic Image Shani Tamari Matan | The First Hebrew Dance-Gathering at Kibbutz Dalia (1944): Decoding of an Archival and Choreographic Event Hagar Salamon and Carmela Abdar | Glory of the “Sets”: Praxis and Meaning of Dressing Children in Haredi Families in Israel Ravit Raufman | The October 7 Massacre in Light of the Folktale “The Wolf and Kid”: A Realization of Primal Fantasy Ronni Shaked | Commemoration and Conflict: How the Palestinian Calendar Shapes Identity and Resistance

Yehuda Jud Ne'eman's latest book, Auschwitz Capital of the 20th Century , presents the work of one of the most important scholars of Israeli cinema, who was also a groundbreaking director and creator. In this book, Ne'eman shares with his readers his involvement as a creator and intellectual in the establishment of Israeli cinema as a space for central artistic, cultural, and political discourse, whose significant contribution to Israeli culture and society is beyond doubt. The book includes two parts that complement each other. The first part contains an innovative and original discussion that maps the history of Israeli cinema by comparing it to cinema that began during the yishuv period. During this period, cinema was committed to the Zionist narrative, and the work is characterized as a continuous conflict between avant-garde and ideology, similar to Soviet avant-garde cinema. Within the framework of this comparison, Ne'eman emphasizes the preoccupation with modernist cinema of the "New Sensibility," a term coined years ago, and refers to films created by Israeli directors following the French "New Wave," including his own films. In doing so, he claims that between Israeli folk film and the modernism of the "New Sensibility" films, there was in fact cooperation in opposition to the establishment and Zionist ideology. The second part of the book discusses films made in the State of Israel and during the yishuv period that deal with the representation of the Holocaust as a central test case. Among other things, Ne'eman shows that the attempt to heal the horrors of the Holocaust in a simplistic national way expresses feelings of guilt and offers a limited solution to the problems of the survivors.

The Devil's Renaissance describes the early modern period in Europe as a time of terrible bloodshed and persecution of minorities such as the Moriscos, the Gypsies, heretics, the Cagots and the imaginary sect of satanic witches. It was the age of fear of conspiracies and of the devil undermining the Christian commonwealth.

Yiddish in Israel: A History challenges the commonly held view that Yiddish was suppressed or even banned by Israeli authorities for ideological reasons, offering instead a radical new interpretation of the interaction between Yiddish and Israeli Hebrew cultures. Author Rachel Rojanski tells the compelling and yet unknown story of how Yiddish, the most widely used Jewish language in the pre-Holocaust world, fared in Zionist Israel, the land of Hebrew. Following Yiddish in Israel from the proclamation of the State until today, Rojanski reveals that although Israeli leadership made promoting Hebrew a high priority, it did not have a definite policy on Yiddish. The language's varying fortune through the years was shaped by social and political developments, and the cultural atmosphere in Israel. Public perception of the language and its culture, the rise of identity politics, and political and financial interests all played a part. Using a wide range of archival sources, newspapers, and Yiddish literature, Rojanski follows the Israeli Yiddish scene through the history of the Yiddish press, Yiddish theater, early Israeli Yiddish literature, and high Yiddish culture. With compassion, she explores the tensions during Israel's early years between Yiddish writers and activists and Israel's leaders, most of whom were themselves Eastern European Jews balancing their love of Yiddish with their desire to promote Hebrew. Finally Rojanski follows Yiddish into the 21st century, telling the story of the revived interest in Yiddish among Israeli-born children of Holocaust survivors as they return to the language of their parents.

Don Quixote de la Mancha was published in 1605, with its second part following a decade later, in 1615. Over four centuries have elapsed, yet this masterpiece of Spanish literature remains one of the most translated and widely celebrated works across various artistic mediums. It has left an indelible mark in literature, visual arts, cinema, theater, music, and dance, captivating not only writers and poets but also philosophers, jurists, politicians, and countless others. What lies behind the enduring success and relevance of this novel? In this book, we endeavor to offer insights into this question, contending that Don Quixote is, above all, a product of its time and milieu: of the Golden Age during the 16th and 17th centuries. We also argue that it stands as a revolutionary work in its narrative and structural innovations. Yet, beyond its literary innovations, Don Quixote features a rich tapestry of characters, who represent the marginalized—peasants, women, Muslims, and more—granting them voice and prominence. It imbues readers with the "madness" of adventure, ideals, and unconditional love. Ultimately, it imparts invaluable lessons, encouraging us not to shy away from doubt or ambiguity but to embrace them as integral aspects of the human experience.

In this issue: Moti Benmelech | From the Sambatyon to Tiberias: An Unknown Version of ‘MaꜤaseh Akdamut’ Rella Kushelevsky | Affinities between Orality and Literacy in Medieval Folktales in Western Europe: ‘The Tale of a Rich Man who used to seat Himself among the Poor’ David Manrique | Yohanan ben Zakkai meets Vespasianus: A Study of Midrashic History according to ‘MeꜤam Loez’ by Argüete Zeev Kitsis | The Baal Shem Tov’s Neighbor in the Garden of Eden ‒ A story from ‘Once There Was a Hasidic Man’ and its Connection to the Hasidic-Israeli Identity

This is the story of an adventurous journey into a magical, unknown and incomprehensible world where nature is alive and has a psyche, including trees. Do trees have a spirit? Does a tree have a soul? Scientists may question the notion that trees have a mind, soul or spirit, but there are cultures where trees have a soul and a mind of their own. The book describes the mind-blowing experience of entry into a world of spirits and trees, a world of animism – the field of anthropology that ascribes a psyche to all natural elements. Written in the form of travel log accompanied by illustrations, the book reveals the wisdom and sensitivities of villagers in northern Burma, who opened their home, their trees and their hearts to the author, allowing him to touch and understand their beliefs, and through them understand his own self.

The book contains the first-ever Hebrew translation of a collection of medieval Arabic stories, entitled The Hundred and One Nights . The chapters of the book deal with a variety of issues, for instance, the work’s origins and history, extant versions and manuscripts, language, material culture, poetics, the ideas and themes reflected in the stories, and Jewish background elements that can occasionally be discerned in some of the stories.

Armenian Manuscripts of the David and Jemima Jeselsohn Collection is devoted to the five Armenian codices in the Jeselsohn collection in Zurich. Of great importance for Armenian studies and the history of art more generally, they represent various literary types, including biblical, hagiographic, homiletic, and liturgical texts. They also reflect an array of visual and artisanal traditions, connected to artistic centres in the Armenian Kingdom of Cilicia, Constantinople, and New Julfa, and span a period of over 300 years. A newly identified Sargis Picak manuscript is of exceptional importance for the study of medieval Armenian art, for its images, for Sargis’ colophons, and for a hitherto unstudied ivory plaque of the Transfiguration. A Ritual of 1586 holds particular importance for scholars of the Armenian liturgy and its development in sixteenth-century Jerusalem. Also presented is a beautiful parchment leaf of the opening of the Gospel of John, studied and published previously by Michael and Nira Stone, and likely originating from a Bible produced in seventeenth-century New Julfa. Two Gospel Books complete this study: one from New Julfa, dated to 1695, and another likely produced in late seventeenth or early eighteenth-century Constantinople. This book was initiated and supported by David Jeselsohn, avid and longtime collector of archaeological artifacts, manuscripts, and Judaica. It was written jointly by Michael Stone and Christina Maranci. Maranci is an art historian and Stone is a specialist in Armenian philology, palaeography and codicology. Maranci bears primary responsibility for research on the miniatures – their art-historical analysis and iconography as well as their attribution, date, and context. Stone contributed the textual, codicological and palaeographical research, including translation of the colophons from the Classical Armenian (Grabar) into English, and catalogued the contents of all five manuscripts.