Davka 's 5th issue is dedicated to New York Yiddish, a success story which is usually overlooked by Israeli History Books. It covers a selection of the New York Yiddish Golden Age elements: the Yiddi Theatre, which became a kind of Modern Temple (Edna Nahshon); the Rise of "Fiddler on the Roof" (Dan Almagor). The New Davka issue also includes a photographic tour following the trail of the Jewish Past in the Lower East Side (Nahum Gershon), a Motl Peyse Dem Khazns Comics and more. Davka does not limit itself to the Historical tale but also describes the Yiddish Situation in New York today. It tells of the activity of a very young organization "Yugntruf " and tells of a friendship between two women an ex-religious and an orthodox and even includes a play about female love in one of the Yiddish reading circles in the East Village.

This volume of essays is the first collection of scholarly studies on the Yiddish theatre to appear in English. Drawing on a variety of academic disciplines, it considers the dramatic and musical repertoire of Yiddish theatre and their historical development, popular and critical reception of productions, and the practice and consequences of state censorship. The time-span covered is broad—from the Middle Ages to the twentieth century—as is the geographical range: Cracow, London, Moscow, New York, St Petersburg, Vienna, and Warsaw. The Yiddish Theatre not only presents a comprehensive study of the field but also helps illustrate the significance of the Yiddish theatre as a vital form of expression in the Jewish world. Yiddish drama and theatre has had an enormous capacity to entertain audiences on six continents, while at the same time highlighting social, political, religious, and economic concerns of vital interest to the Jewish people. The Yiddish Theatre is a valuable resource for scholars, university students, and general readers interested both in Yiddish theatre specifically and related fields such as Jewish literature and culture, east European history and culture, and European and American theatre. The book contains the most comprehensive bibliography to date of sources relating to the Yiddish theatre. Contributors Ahuva Belkin, Joel Berkowitz, Paola Bertolone, Miroslawa M. Bulat, Brigitte Dalinger, Barbara Henry, John Klier, David Mazower, Leonard Prager, Nahma Sandrow, Nina Warnke, Seth L. Wolitz

The third issue of Davka , the Hebrew Language magazine dedicated to exploring the Yiddish Culture, reveals the hidden love of Yiddish in the land of Israel. Starting with the exciting letters which a "Yiddishe Mama" sent to her son who was situated in Cairo, at the beginning of the 16th Century, these letters were in the Cairo Geniza and were uncoded by Professor Hana Torniaski.

Davka is a Hebrew-language magazine that explores the culture of the Jews of Eastern Europe. The subject of the Second issue is Childhood.

The first issue of Davka is devoted to journeys, and offers a wide array of subject matter and styles, from David Assaf's scholarly writing on traveling near and far, to Ruvik Rosenthal's fascinating observations on the Yiddish component in spoken Hebrew, and Yirmi Pinkus' comic strip "Malopolska" ("Little Poland")and includes an interview with Chava Alberstein.

The Yiddish proverbs in this book have accumulated for hundreds years. They originate from the Bible, the Talmud, the Eastern European and German folklore, but some were coined by Yiddish speakers themselves. Parallel proverbs and literal translations in Hebrew, English and Russian accompany the Yiddish proverbs. The dictionary also contains alphabetical indexes of the Hebrew, English and Russian proverbs and references to the original Yiddish proverbs, thus producing a combined two-way dictionary. Eastern European Jewish folklore is distinguished by an unusual degree of self-criticism, which is reflected in the proverbs. A large proportion of Yiddish proverbs are humorous, perspicacious, and sophisticated and some make opposite statements about the same matter.

Here Ruth Levin presents to the public the best creations of her father Leibu Levin, Czernowitz born actor and composer and the last of the great Yiddish Troubadours and also called the Jewish Schubert. This anthology includes most of Levin's lifetime work and its variety paints a musical portrait of the Jewish epos in the 20th Century.

In this volume, articles on Jewish Warsaw over the centuries cover the history of jewish settelment; Jewish populations in the eighteenth century; the background to the 1790 pogrom; relations with Christians in the early partition period (1795-1861); the acculturation of the nineteenth century; Warsaw as a Yiddish literary centre; Jewish Warsaw before the first world war; the history of the Warsaw ghetto; and Jewish historians Emanuel Ringelblum and jacob Shatzky. Other topics covered include the religious orders and the Jews during the holocaust, and the integration of the Jews in Radom.

The theme of this rich and highly focused volume is Polish perceptions of Jews and Jewish perceptions of Poles from the Middle Ages to the present. Essays by Leszek Kolakowski and Wladyslaw Bartoszewski set the parameters of the debate. Contributors analyse sources ranging from Yiddish folk-songs to Hebrew, Yiddish, and Polish literature to Polish plays, and the discussions range over the entire period. Norman Davies writes on ethnic diversity in twentieth-century Poland, and other essays deal with related political aspects. There is also an important exchange between Stanislaus Blejwas and Shmuel Krakowski entitled ‘Polemic as History'.

Itzik Manger (1901-1969) stands out as the last great bearer of Yiddish song and humor, equal if not exceeding others in his power of feeling, invention, imagination and popular expression. His style of writing remained essentially the Yiddish of ordinary people, as spoken in shops and markets. To him, poetry was the supreme form of literature – a direct and sublime means of communication between the poet and reader. Manger was divinely endowed with “antennas” able to pick up delicate meaning often deliberately ambiguous, or intentionally obscure, dreamlike visions – and transmit them to the reader. Manger’s approach to the heroes of the Bible, whom he “brought down” from the heavens and transformed into ordinary Jews of Poland and other Yiddish speaking communities, remains in the minds of Yiddish speaking populations of Europe and the Americas. The lyrics and other texts in this volume, the seventh in the series of the Anthology of Yiddish Folksongs, are translated into Hebrew and English to ensure their survival for future generations. Most of the translations are “singable” - a rare and ingenious feat, requiring not only perfect knowledge of both languages, but also a deep feeling for music, rhythm, cadence, accents and so on. The main purpose of this book is not to deal with Manger’s singular poetic style or unique sense of humor, all of which are no less the product of Manger’s genius, but to publish some 50 of his poems, set to music, in the hope that other composers will be attracted to their exotic beauty and will enrich the world of spiritual culture.