Just a few years after the publication of her Purity, Body, and Self in Early Rabbinic Literature, Mira Balberg has somehow managed to write another path-breaking work on another formidable and arcane section of rabbinic literature—sacrificial law.
Black hat chic: Shai Secunda's review of Shababnikim, the new television show about cool yeshiva students.
When contemporary Jews of priestly lineage avoid cemeteries, when ordinary Jews wash their hands before eating, or immerse themselves in ritual baths, they are acting according to the dictates of an ancient system.
In a new exhibit at the Met curators Barbara Drake Boehm and Melanie Holcomb wear their liberal hearts on their sleeves, imagining that Jerusalem's crowds might yet be resurrected as a convivial medieval pluralism.
Part of the artistry of Shtisel derives from an almost ritualistic obsession with the details that ultra-Orthodox Jews themselves obsess over.
Zornberg’s sessions are deeply informed by traditional Jewish sources, especially the interpretations of classic rabbinic midrash and the homilies of Hasidic masters.
Virtually nothing of Babylonian Jewry of the talmudic period, from the 3rd to the 6th century C.E., has survived beyond the Babylonian Talmud itself to help contextualize or confirm the many things the text tells its readers.
The Talmud was hypertextual before we had the word. ArtScroll's new app is only the beginning.
Israeli director Joseph Cedar's new film Footnote was anything but that at the Cannes Film Festival, despite its setting in the Hebrew University Talmud department.
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