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 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.

This book presents a comprehensive selection, translated for the first time into Hebrew, of the Latin works of Francesco Petrarch (1304-1374), the "father of humanism" and a pivotal precursor to the Italian Renaissance. The compilation includes some of Petrarch's renowned personal letters, such as the pair he addressed to the Roman orator and philosopher Cicero. It features a therapeutic-autobiographical dialogue in which he engages with his spiritual father, Saint Augustine, challenging the latter's strict worldviews. The selection also encompasses an Invective against the dominant Aristotelian philosophy of his era, asserting the preeminence of classical rhetoric over philosophy; a novella presenting his interpretation of the closing story of the Decameron ; and a portion of his Latin poetry, through which he sought to revive the works of the great Roman poet Virgil. Through these writings, Petrarch fostered the emergence of a new secular culture on the cusp of the modern era—one that emphasizes humanity and life in this world—and set the stage for the remarkable creative surge of the Italian Renaissance.

To the Water , a monograph on the writer Yosef Haim Brenner, seeks to reimagine the conventional perspective on Brenner, shifting the focus from his role as a national prophet to that of a modernist writer. The chapters of the book collectively form a life story, not only of the writer himself but also of his artistic era, the era of early Hebrew modernism. This innovative literary language, forged through the wanderings of Brenner and his cohort of young, provincial writers in early 20th-century Europe, transcended mere "style". It constituted a profound way of thinking and experiencing the world, swiftly captivating its creators, bursting forth in their works with great originality, and, paradoxically, vanishing with the same swiftness with which it had arrived. The book strives to recontextualize Brenner's creative output, asserting that his style does not merely continue the tradition of European realism from the 19th century. Instead, it stands as a bold and uniquely Hebrew creation, distinct from anything that preceded it.

This collection presents short stories by Yiddish writers who worked in Israel and wrote about it. The stories chosen and translated into Hebrew especially for this book unfold a fascinating mosaic, a synthesis between the literary traditions of Yiddish in Eastern Europe and America and the Israeli language, landscape, characters, and world of images; Between the Jewish home that was destroyed in the Holocaust and the formulating reality in Israel. Yiddish fiction written in Israel confronts the reader with the kibbutz and the urban landscape, Holocaust survivors and Sabars, Arabs, Bedouins, and Jewish immigrants from Eastern Europe, the Middle East and all over the world. The stories can also be read as an expression of the changes that took place in Israel, from the establishment of the state to the Lebanon War and the first Intifada, from the waves of mass immigration of the Mizrahim and of Holocaust survivors and their settlement in "abandoned villages" to the immigration of Soviet Union Jews in the 1990s.

The collective memory is not an innocent conduit carrying the cargo of the "authentic" past into the present, but a subject of constant struggle between different social forces, which have their own history. The discourse of the Holocaust in Israel has also undergone several incarnations during the last decades that reflected the complex interrelationship between "silence" and speech and the various tensions between private memories and collective memory. In this pioneering book - What Shall We Tell the Little Ones? - Yaakova Sacerdoti examines how Holocaust literature for preschoolers developed in light of the recurring questions on this topic over the years: Is it right to expose children to these horrific events of the past? And if so, how can the indescribable be described? The book examines these questions by describing over thirty children's books about the Holocaust, published since the beginning of the 1990s. Thus, Sacerdoti tries to reveal the literary and poetic techniques - both textual and visual - that children's writers used to try to circumvent the difficulties involved in conveying the experiences of the Holocaust to preschoolers.

In this issue: Yiftah Levin | The Key as an Intertextual Symbol in the Six-Day War Shalom Sabar | ‘The Year of the Liberation of Our Holy Sites’ – The Six-Day War in the Mirror of Israeli Folk Art Regina F. Bendix and Galit Hasan-Rokem | Israeli Political Humor: What Was There To Laugh About in 1967? Haim Weiss | ‘The Mountain that Folds Within It All of Israel’s Hopes and Visions’ – Shlomo Goren and the Six-Day War

Uri Zvi Greenberg’s early poetry, composed between 1912 and 1923, offers both a key to understanding his later work, and a means for re-conceptualizing modern lyrical discourse in general and modern Jewish lyrical discourse in particular. Often callow, this early work testifies to the poet’s quest for a way of writing poetry that would give voice to the Jewish experience in Europe just before and after World War I. Like many other Jewish poets of the period, Greenberg was aware of the pressing need to express Jewishness in a way that would allow for the continued existence of Jewish national identity, among nations jostling for independence in a Europe rife with tensions. Similar to many of these poets, Greenberg also knew that this expression would have to be, of necessity, grounded in modern subjectivity. Paying attention to the various literary, historical, and political contexts of Greenberg's writing, Green Mountain and Love traces the poet’s valiant attempt to come to terms with modern subjectivity, and in so doing, reinvestigate the mechanisms of modern lyrical discourse. It yields fresh insights into the nature of poetry; its aims and functions in the cultural, political, and historical arenas; and the reader’s relationship with the poetic word.

The Israel Folktale Archive (IFA), named after founder Dov Noy, was established in 1955 aiming to protect oral traditions at danger of becoming extinct or sinking into oblivion. It currently stores some 25,000 stories told in dozens of ethnic groups, mostly Jewish but also Muslim, Christian and Druze. Poetic Memory deals with the appearance of early Hebrew traditions in the archive tales, from the days of the Bible to the Middle Ages.

Letters can often be spontaneous expressions of their writer's search for meaning, redemption and identity. Such are the letters of Bruno Schulz, one of the most sensitive, and most tormented European-Jewish writers. In this collection of letters - published here for the first time in Hebrew, translated by Miriam Bornstein and edited by Jacob Golomb - Schulz expresses his most hidden thoughts in the most poignant way. These letters were a vital lifeline for him that connected his remote city of Drohowicz to the turbulent cultural and literary centers of Poland in the interwar period. Schulz's desperate need to gain public recognition resonates with them, along with a strong sense of loneliness and existential isolation. These letters can be read as works of art in their own right, and they have the potential to shed new light on Schulz's work, its mysteries and embarrassments. The book includes some of his spectacular paintings and a selection of the review notes he wrote and published. Schultz reveals himself as a sharp, attentive and sensitive critic. Oftentimes, his critical lists not only talk about the works, but reflect his own personality.

This book examines the essentiality of the component of enjoyment to a good life. John Kekes reflects upon historical episodes and literary works, and shows how literature is a better guide than the search for general theories and principles, which constitute a central part of contemporary deontological ethics, consequentialism, and concrete thought.

Empathy is often conceptualized as the experience of walking in someone else’s shoes. This experience comprises of a cognitive aspect – the ability to identify, understand and adopt the perspective of another, and an affective aspect – sharing the emotions of others, while remaining distinct. Empathy has been widely recognized as central to cognitive and social development, and a key to nurturing interpersonal relationships and encouraging pro-social action. But empathy has drawbacks as well: Its boundaries, limitations and even potential damage have also been recognized and investigated. The articles in this book take multiple perspectives to studying empathy. They discuss how empathy is developed and how it is bounded, and focus on both its positive and negative implications. The articles in the first part of the book take a social sciences perspective to empathy. They define empathy, describe its development from very early age and throughout the life-span, and examine how it affects intra-personal, interpersonal and social processes. The second part of the book discusses the role of empathy in the humanities. The articles in this part address empathy in history, literature and the arts. Together, the articles in this book point to the vast scope of empathy as a phenomenon in both the social sciences and the humanities.

It is not an easy task to find in any creative field a person who is both an original and groundbreaking artist and a profound thinker-interpreter, who is well versed in the broad scope of the entire culture. Such is Michael Gurevitch – the playwright of "Happiness", "A Fleeting Shadow", "A Word of Love" and "The Dragon's Beloved" (out of more than eighteen plays) – who presented new, local and extremely challenging concepts about the context of a theatre play within the contemporary Israeli existence. Gurevitch designs a new local theatrical language in his plays and in the way he directs. He is an unforgettable director of classics such as "The King's Clothes" by Nissim Aloni, "Life is a Dream" by Calderón de la Barca, "A Midsummer Night's Dream" by Shakespeare, "Uncle Vanya" by Chekhov or "War on the House" by Aristophanes (adaptation by Ilan Hatsor). His theatrical insights are interwoven to the most contemporary Israeli issues without so much as a sensational wink. His theater is a "passing shadow" in the full sense of the word because it is based on one-time work with certain actors, at certain moments in their lives, and in the life of the country at a certain moment, and for that reason it is profoundly unique to theater alone, because it lives only when it is actually performed, hence it is poignant and unforgettable. Gurevitch was born (1951) and raised in Tel Aviv. He lived, breathed and studied local and international theater all his life, but his main strength is in the depths of the emotional, involving his childhood, his parents and his unique personality. In Two Children in The Field: Reflections on Theatre and Life Gurevitch manages to refine, from his rich experience, a series of lucid insights on the relation between theatrical conceptions and the contexts from which they stem.