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.

This book delves into the narrative of Fethullah Gülen and his movement, which essentially encapsulates the broader story of Turkey. The book explores the origins of this movement that undeniably left an unprecedented impact on Turkey, surpassing the influence of any preceding religious movement. This movement, centered around the figure of Gülen, born in 1938, gained prominence mainly during the 1990s when it unfurled its banner of inter-religious tolerance. Gülen actively advocated for the establishment of a global network of schools and even universities, aiming to cultivate a new generation of devout Muslims who were educated and inclined towards Western ideals. By the late 1990s, Gülen's health issues led him to relocate to the United States, ostensibly. With the ascent of the AKP party to power, connections burgeoned between the movement's members and the party, particularly its leader Erdoğan. This mutually beneficial relationship faced turbulence at the onset of the second decade of the 2000s, culminating in the attempted religious coup in 2016, during which Gülen and his movement were accused. Subsequently, Gülen emerged as the foremost adversary of Turkey, rendering his return to the country implausible.This book illuminates the intricacies of the Gülenist movement and endeavors to unravel the persona of its leader. The text delves into the origins of the Gülenist movement, its underlying ideology, and its enduring significance within Turkey. By employing comprehensive research techniques and utilizing archival materials in various languages Dr. Aviv provides insight in an objective as possible way into the dynamic interplay between religion and state in Turkey, as well as the ascent and decline of religious movements within the nation.

In these 48 essays, most of which were published in Haaretz newspaper, Yaacov Shavit wanders between various episodes in Jewish and Christian history and culture.

Israel's recent constitutional political crisis marks the moment when civil duty becomes an existential question: are civilians obliged to obey an administration chosen in a democratic process, even if it means harm to justice, decency or elementary democratic values? The main claim made in this essay is that two types of civil disobedience are to be categorized: disobedience of law or policy, and disobedience of legality.

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.

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.

Ever Turning Blows the Wind examines the cultural world of Rabbi Chaim Yosef David Azulay - Hida (Jerusalem 1724 - Livorno 1806). This book explores the cultural and intellectual figure of Hida, a native of Jerusalem, who spent many years traveling in North Africa and Europe until he settled in Livorno, Italy. It examines several of his numerous works, representing various genres. The defining aspects of his character, emerge from Hida's writings. The expressions of his self-image, his attitude towards different societies and cultures and different bodies of knowledge, influenced by the cultural spaces he crossed in his travels, are discussed here. Examination of Hida’s writings, with their various genres, shows that Hida’s figure contains some of the old, traditional world where he was born and raised and formed his personality, and the modern world which was discovered to him in his travels and which aroused his interest and its effects on him are clearly evident in his writings. Therefore, the research of Hida’s figure enables an examination of the influence of the new inside the traditional surroundings and the existence of these two entities side by side.

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.

This beautiful volume is the fruit of almost 40 years of collecting by Vivienne Silver-Brody, one of Israel's few photography collectors. She has written and edited a book, which narrates the shared history of photography in a land that in the last century has seen development alongside war and destruction, and that remains divided and conflicted by the two peoples that call it home. The text is accompanied by some 200 exquisite photographs from Silver-Brody’s collection, and includes a special section inspired by the 1983 volume published by the Victoria and Albert Museum in London, Personal Choice: A Celebration of Twentieth-Century Photographs . In this section, Silver-Brody invited some 60 writers – photographers, scholars, artists, curators, collectors, lovers of photography and others with a special connection to the land – from different religions, national and political tendencies, to choose a single photograph from her collection and to write a short essay relating to it. The result is a fascinating selection of texts that contributes to the overall narrative in the book. This book could speak to a diversified readership; those interested in photography and its history or in the Middle East and Israel / Palestine, especially in light of the ongoing conflict and public debate surrounding it around the world, and in light of the unique voice that attempts to reach beyond politics and religion, and to present a photographic history of the Land of Israel as a shared place rather than as disputed territory. Translated by Daphna Levy

In the preface to his book Emek Hamelech Rabbi Naftali Bacharach lists his ten books, noting that the first is Emek Hamelech , and the second is Gan ha-Melekh , his commentary on the Zohar printed here for the first time. Bacharach's style in Emek Hamelech is similar to his style in Gan Hamelech , however, while Emek Hamelech was written according to the order of Emanation, Gan Hamelech was written as a commentary to the Zohar. In general, the Kabbalistic writing of Bacharach is characterized by the fact that it is full of messianic tension, and unlike most descriptions of the Emanation in Lurianic Kabbalah that we are familiar with, Bacharach also describes the first stages of the Emanation in Messianic terms.