In his book History, Literature, Critical Theory (2013), historian Dominique La Capra presented how the narrator's voice in the 19th and 20th century novel came to a collapse that reflects modern traumatic experience. This study uses this theoretical prism in order to construct a cultural dimension of twentieth-century Jewish poetics, a dimension in which trauma is reflected in its linguistic representation, and vice versa: shapes that representation itself. The book offers to understand Jewish literature in the twentieth century as a far-reaching cultural experience, in which the human figure is not made possible by words but instead, collapses into the animal, the absence, the broken witness, the Muslim, the eastern, the Arab and the queer.

The book is concerned with the main trends in Jewish Liturgy during Late Antiquity and its connections and inter relations with Aramaic Targum, Midrash, mysticism, popular beliefs, structure and rhyme patterns as performed amid Late Antique Synagogues in Palestine, as well as the later spread of these fertile products to Southern Italy and then to Europe. The book discusses the different layers of poets and performers as presented in ancient manuscripts which were preserved in the Cairo Geniza collections and later in European Mahzorim, and the fascinating struggle of survival of the different liturgical cycles.

Argonautica (the voyage of the ship Argo), is a Hellenistic epic poem by Apollonius of Rhodes written in the third century BCE. It is one of the few remaining epic poems of ancient Greece, recounting the adventures of Jason and the Argonauts who sailed aboard the Argo to Colchis in order to retrieve the Golden Fleece. Much importance has been attributed to this work owing to its artistic qualities and complex narrative. Argonautica has had an immense influence on prominent Roman and modern writers alike, including Ovid, Virgil, and Robert Graves. The Hebrew translation retains the original meter of the work and accurately reflects the content and spirit of the original Greek.

Sacred songs of the Sephardic Jews are known for their eloquence, sublime lyrics and depth of emotion and thought. Rabbi Solomon ibn Gabirol is responsible for this to a large extent- he was one of the principal contributors to the style. This book seeks to clarify Ibn Gabirol's unique contribution to the Sepharadic piyutim and to piyutim in General. Both in the newly introduced content , and the original form principles, which instructed all the poets from then on. Special emphasis has been placed on the mutual affinity between content and form. The book is intended for researchers, students, enthusiasts and medieval poetry and Solomon ibn Gabirol fans.