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.

Many Voices in the Prose of Shulamith Hareven by Yael Balaban is the first book-size monograph dedicated to Hareven’s oeuvre. It offers for the first time a deep understanding of Hareven’s fiction, including her early short stories, City of Many Days, and Thirst – the Desert Trilogy . Hareven’s unique voice has been missed by contemporary critics, as both her ideas and her poetics were ahead of her time: She wrote about sexual abuse long before the subject ever entered public discourse; wrote about the “second generation” of Holocaust survivors before the term was established; and created Mizrahi and Arab characters very different from the stereotypic characters in contemporary Hebrew literature. It is time to re-read Shulamith Hareven’s work and discover beautiful stories suffused with moral and social sensitivity and a profound commitment to language and literature .

16 October 1943 is one of the most intense, troubling and spectacular works ever written on a single event in the Holocaust of Europe's Jews. This text embodies a stylistic combination of almost real-time journalism, powerful poetic and emotional literature and a profound philosophical essay on the Nazi's behavioral patterns. Giacomo Debenedetti, a distinguished Jewish-Italian author, journalist, and literary critic and theorist describes in 16 October 1943 the terrors of the raid of the Ghetto of Rome. The story (for it is first and foremost a story) unfolds, with piercing, terrifying language, the deportation of one Jewish community within the Nazi extermination mechanism.

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?

Smocza is the biography of a street in Warsaw that was completely destroyed in World War II. The book reveals the story of a Jewish microcosm between two world wars. It is based on historical and literary sources that piece together a multicultural mixture of a society in transition, where orthodox Jews, Bundists, Zionists, shoemakers, tailors, poets, actors, prostitutes, and others lived side by side.

The characters of the Yanuka (the Zoharic Wunderkind) and the Sava (the wise old man), appear in various Zoharic stories, revealing themselves to the sages of the Zohar (Rabbi Shimon Bar Yohai and his disciples). These two figures are among the most meaningful and complex mythical figures in Zoharic literature. The main argument in this work is that the Sava and Yanuka characters are portrayed as the embodiment of God and his Son (and the Messiah). This book is the first attempt to grasp the full extent and depth of these mythical figures and the close ties that exist between them. At the same time, the book reveals an important chapter in the history of Jewish myth and contributes to the understanding of the messianic consciousness that characterizes the stories of the Sava and Yanuka in the Zohar and exposes their hidden and polemical ties with Christianity. The book is currently available as an ebook. A print edition will be available soon.

Abū Ḥāmid al-Ghazālī’s Mishkat al-Anwar (The Niche of Lights) is justly included in the Hall of Fame of world mysticism as an immortal masterpiece for generations to come. Its subject matter is an arcane mystical interpretation of the Light Verse, sura An-Nur (Qur’an, verse 35), whose text has become a central symbol for the mainstream of Sufi mysticism. The book centres on the light and the mystery of light within a Sufi’s world. Its central importance caused The Niche of Lights to be translated to Hebrew twice in the Middle Ages, and for many generations it provided a source of inspiration in the realm of Judaism for philosophers and Kabbalists alike. This essay has now been re-translated to contemporary Hebrew. This classic inspirational text, a guide for the perplexed of the internal journey to the mystery of Divine Light, is an important, central chapter in the history of human spirituality; and occupies centre stage in the endeavour to establish prophesy, divine inspiration and a new Israeli spirituality.

The book Praise of Fools , which was printed twice - in 1880 and 1910 - is an unusual satire/parody in Hebrew satiric literature. It is intended not only for certain circles or people in the Jewish context, but also has a universal character: it makes fun of and derides a long list of philosophers, writers, intellectuals and scholars a nd others , presenting them as useless, plagiarists and fools. All this i s done in order to supposedly praise ignorance and stupidity and to propose finding within them security and peace. The book accorded to Rubin the title "the Jewish Erasmus," however, the introduction places the book within the extensive European "fool literature".

Articles: Haim Weiss | ‘From That Hour the Doom Was Sealed’: On Class Reversals in the ‘Legends of Destruction’ Vered Tohar | ‘Rabbi Hanina and the Frog’: An Ancient Ashkenazi story Adapted for Children by Asher Barash Lital Lieberman-Avital | ‘Take the Illness and Give the Medicine’: Removal by Salt – Traditional Women’s Healing Practice on a Socio-Cultural Borderline Yuval Harari | Wonders and Sorceries in Yeruham: A Magical-Political Rashomon Dalia Marx | Welcoming the Sabbath in the Kibbutzim: Secular Religiosity Narmina Abdulaev | Narration Surfing: Folklore Published on the Internet and Its Analysis Shany Kotler-Fux | ‘Hitler-Pants’ Parodies: Folklore in Israel’s Virtual Sphere Reviews: Aharon Maman | [Review of:] Yosef Tobi and Tsivia Tobi, Judeo-Arabic Literature in Tunisia, 1850–1950, Detroit, MI: Wayne State University Press, 2014, 367 pp. Jacqueline Laznow | [Review of:] Tsivia Tobi, From Bride to Daughter-in-Law: The World of Jewish Women in Southern Tunisia and Its Reflection in Popular Literature, Jerusalem 2016, 344 + [iv] pp. [Hebrew] Tzila Zan-Bar Zur | [Review of:] Idit Pintel-Ginsberg, The Angel and the Tcholent: Food Representations in Folktales, Haifa 2016, 176 pp. [Hebrew] English Abstracts

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.