Pygmalion was claimed by Shaw to be a didactic drama about phonetics, and its antiheroic hero, Henry Higgins, is a phonetician, but the play is a humane comedy about love and the English class system. The play is about the training Higgins gives to a Cockney flower girl to enable her to pass as a lady and is also about the repercussions of the experiment’s success.

The Erudite Comedy introduces the Hebrew reader to three saucy Italian comedies. These comic gems were written in the first quarter of the 16th century, the period in which Western classical theatre was reborn. Each of them possesses unique historical and artistic values: Ludovico Ariosto’s ‘La Cassaria’ (1508) is well-known as ‘The first modern play’; Bernardo Dovizi’s ‘La Calandra’ (1513) is remarkable for its ingenious plot, bold erotic allusions and surprisingly feminist soliloquies; Niccolo Machiavelli’s ‘Clizia’ (1525) contains autobiographical elements, reflecting the aging Renaissance genius’ love affair with a well-known young courtesan .

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

Two Plays by Miguel de Cervantes Saavedra: The Bathes of Algeria The Great Sultana Dona Catalina de Oviedo A bilingual book in Spanish and Hebrew. Full symmetry of meter and Rhyme of both languages.

The book presents an innovative research on the Holocaust in 'Second Generation' Israeli artists' artworks. The Israeli uniqueness is clearly reflected in their artworks influenced by the cultural-educational connection of the subject of the Holocaust in Israel as well as by the link to significant events in Israeli history. The book explores a wide variety of topics and questions that occupied the artists and presents various ways they chose to express the workings of their inner world, effected by their parents' experiences during the Holocaust.

Cinema is the most democratic form of art, dependent on the taste of millions of viewers. Within the cinematic historical genre in Arab cinema one finds a rich intellectual discourse, in a constant dialogue with state, censorship and audience. The book Back to the Past: Filmed History in Arab Cinema invites the readers to know the Arab cinema industry, mainly the Egyptian one, through the historical genre, and "medieval" films as its core. In films taking place in Middle Ages , the viewers meet warriors and poets, besides the leaders and founders of Islam. These films present also the images of Mongol and Crusaders invaders, slaves and concubines, Mamluks, Christians and Jews. The book surveys also the transition from a situation of Egyptian cinema exported to the Arab world, into the creation of Pan-Arab historical discourse within the satellite channels.

The book Habima in Berlin delineates the net of interconnections between Habima, a Hebrew theater troupe, and the German Jewish cultural and economical elite, that were woven together in the years 1926-1931. It analyzes how Berlin Jews, among them renowned theater artists, Zionist activists, intellectuals, wealthy businessmen, industrialists and bankers, formed a coalition to support Habima and how they shaped its Hebrew-Zionist artistic profile.

This book proposes a new approach to Leonardo da Vinci’s Anatomical Corpus, both in ambition and in methodology. In dialogue with the extant research of Leonardo’s achievements and failures in terms of today’s scientific knowledge, it looks for the notion of the living body that is submerged in the labyrinthine, puzzling, little-explored complexes which are Leonardo’s folios. This book reads their configurations closely, in view of his thoughts on art, language, music, metaphysics, subjectivity, manhood, erotics. It thus discovers in them a unique weave of laughter, self-irony and apprehensions concerning the very science of subjecthood in the flesh.

This play is a love story in the shape of a parody. The god Jupiter, father of the gods and humans, a relentless womanizer who never grew up and has a never ending stock of passion. He desired the wife of the warlord Amphitruo who left the city to fight in a war. Jupiter takes Amphitruos' shape and makes love to his wife. When Amphitruo comes back from battle then starts a comedy of mistakes which ends in Amphitruos' wife giving birth to two sons - one for each man.

Mandragola – known in English as The Mandrake – is Niccolo Machiavelli’s most renowned comedy. It is widely considered the greatest stage play of the Italian Renaissance, and one of the most brilliant comedies ever written. Mandragola is admired for its blunt and sober portrayal of human nature and the prominent role of deceit in the shaping of reality. This new Hebrew translation is accompanied by a comprehensive introduction and interpretative notes. The introduction documents the rebirth of western theatre in the Italian Renaissance, and examines the relation between Machiavelli’s comedy and his ‘serious’ writings.

MS Zurich, Jeselsohn 5, is the first half of a Sefardi Masoretic Bible completed by Moshe Ibn Zabara in 1477, which was later heavily glossed, especially in the Pentateuch, by Menahem de Lonzano. The other half of the manuscript is preserved in MS Sassoon 1209. This study first examines Zabara’s work in the manuscript, in comparison with his other manuscripts. The main part of this study is devoted to Menahem de Lonzano: his biography and bibliography, his wide-ranging text critical work, and his detailed work on the Zabara Bible. The volume is illustrated with approximately 150 color photos, with a concentration of 32 photographs in appendix 1 of folios in MS Jeselsohn 5 with micrography. Two other appendices by specialists are devoted to the decoration program and to the palaeography and codicology of MS Jeselsohn 5; the former by Andreina Contessa, the latter by Tamar Leiter and Shlomo Zucker.