This wide-ranging book shows how, since the first centuries of the Christian era, gentiles have associated Jews with noise. The study focuses on a “musical libel" - a variation on the Passion story that recurs in various forms and cultures in which an innocent Christian boy is killed by a Jew in order to silence his “harmonious musicality.” In paying close attention to how and where this libel surfaces, Ruth HaCohen covers a wide swath of Western cultural history. The author combines in her analysis the perspectives of musicology, literary criticism, philosophy, psychology, and anthropology, tracing the tensions between Jewish “noise" and idealized Christian “harmony” and their artistic manifestations from the high Middle Ages through Shakespeare, Bach, Wagner, George Eliot, Kafka, Schoenberg and others. She explores testimonies by outsider visitors of synagogues, operas, caricatures, and Nazi movies. Her analysis shows how entrenched aesthetic-theological assumptions have persistently defined European culture and its internal moral and political orientations. Following the publication of the book, the author received two prestigious awards: the Polonsky Award for Creativity and Originality in the Humanities, and the Kinkelday Award from the American Musicological Society for the best book in musicology published in 2011 .

The papers collected in this volume represent the proceedings of a May 2011 conference organized by the 2008–2011 research group on ‘The Interpretive Imagination: Connections between Religion and Art in Jewish Culture in Its Contexts’ at the Hebrew University of Jerusalem’s Scholion Interdisciplinary Research Center for Jewish Studies—a center that owes its existence to the vision and the generosity of the Mandel Foundation. The four undersigned editors of this volume, all professors at the Hebrew University, were the senior members of the group, which also included five younger scholars: Dr. Yonatan Benarroch, Dr. Irina Chernetsky, Anat Danziger, Dr. Vered Madar, and Tehila Mishor. In its research and activities, the group attempted an integrated examination of the religious and the artistic, and of their aesthetic, experiential, and interpretive aspects—and the present volume exemplifies the work which was carried out during the years at Scholion. The subjects in this title: Singing with the Sirens: Probing the Boundaries of Interpretation Sabba-Yanuka and Enoch-Metatron as James Hillman’s Senex-Puer Archetype: a Post-Jungian Inquiry into a Zoharic Myth The Vision of Florence as a New Rome: Some Rhetorical and Visual Aspects Authority and Its Discontent in 17th Century Amsterdam Jewry: Fin-de-Siècle Visual Interpretations Communities of Voice at Times of Twilight: Real and Imagined Spaces of Sound among Central European Jews at the Opening and Closing of the Gates Religion on the Opera Stage: Source of Conflict, Possibility for Reconciliation Allegory, Excess, Stuttering: On the Reading of Kafka’s Writing Machine A Permanent Shadow: Ilse Aichinger and Franz Kafka ‘Deus ex Machina’ in the Modern Theatre: From Brecht’s Threepenny Opera to the ‘plumpes Denken’ of Walter Benjamin Listening and Exegesis in a Women’s Vocal Community Agnon’s Biblical Ethnographies: “Edo and Enam” and the Quest for the Ultimate Song