Before Fiddler on the Roof, before The Jazz Singer, there was Deborah, a tear-jerking melodrama about a Jewish woman forsaken by her non-Jewish lover. Within a few years of its 1849 debut in Hamburg, the play was seen on stages across Germany and Austria, as well as throughout Europe, the British Empire, and North America. The German-Jewish elite complained that the playwright, Jewish writer S. H. Mosenthal, had written a drama bearing little authentic Jewish content, while literary critics protested that the play lacked the formal coherence of great tragedy. Yet...
Before Fiddler on the Roof, before The Jazz Singer, there was Deborah, a tear-jerking melodrama about a Jewish woman forsaken ...
In "Sefer Hasidim" and the Ashkenazic Book in Medieval Europe, Ivan G. Marcus proposes a new paradigm for understanding how Sefer Hasidim, or "Book of the Pietists," was composed and how it extended an earlier Byzantine rabbinic tradition of authorship into medieval European Jewish culture.
In "Sefer Hasidim" and the Ashkenazic Book in Medieval Europe, Ivan G. Marcus proposes a new paradigm for understanding how Sefer Hasidim, or "Book of...
In Dominion Built of Praise, Jonathan Decter looks at the phenomenon of panegyric in Mediterranean Jewish culture from several overlapping perspectives-social, historical, ethical, poetic, political, and theological-and finds that they depict how representations of Jewish political leadership varied across space and evolved over time.
In Dominion Built of Praise, Jonathan Decter looks at the phenomenon of panegyric in Mediterranean Jewish culture from several overlapping perspective...
