Over the past several decades, the field of Jewish studies has expanded to encompass an unprecedented range of research topics, historical periods, geographic regions, and analytical approaches. Yet there have been few systematic efforts to trace these developments, to consider their implications, and to generate new concepts appropriate to a more inclusive view of Jewish culture and society. Jewish Studies at the Crossroads of Anthropology and History brings together scholars in anthropology, history, religious studies, comparative literature, and other fields to chart new directions in Jewish studies across the disciplines. This groundbreaking volume explores forms of Jewish experience that span the period from antiquity to the present and encompass a wide range of textual, ritual, spatial, and visual materials. The essays give full consideration to non-written expressions of ritual performance, artistic production, spoken narrative, and social experience through which Jewish life emerges. More than simply contributing to an appreciation of Jewish diversity, the contributors devote their attention to three key concepts—authority, diaspora, and tradition—that have long been central to the study of Jews and Judaism. Moving beyond inherited approaches and conventional academic boundaries, the volume reconsiders these core concepts, reorienting our understanding of the dynamic relationships between text and practice, and continuity and change in Jewish contexts. More broadly, this volume furthers conversation across the disciplines by using Judaic studies to provoke inquiry into theoretical problems in a range of other areas.

A founding father of modern Israel, Ahad Ha-am (1856-1927) was one of the shapers of the contemporary Zionist consciousness. His career spanned the era of Russian Jewry's nationalist awakening. During the last decade of the nineteenth century, he was the leading theorist of the Russian Zionist movement. Afterwards, he was overshadowed by Theodore Herzl, who imposed his own stamp on Zionism. With the failure of Herzl's diplomacy and his early death in 1904, Russian Zionists abandoned Herzl's priorities and gradually refashioned the program of the Zionist organization in their own image. More than anyone else, Ahad Ha-am provided the ideological authority for this shift. Until At the Crossroads, there were no up-to-date studies of Ahad Ha-am. This long-awaited collection includes 14 essays by internationally known scholars in modern Jewish history and literature. The essays range from studies of Ahad Ha-am as a literary stylist, his role in the revival of Hebrew, his political thought and activity, his debates with famous contemporaries about the Jewish future, and the reinterpretation of his ideas by his Zionist disciples. The overall picture presented by this book is a new image of Ahad Ha-am—far less Westernized and far more embedded in the nineteenth-century Jewish and Russian cultural milieu than was previously thought.

By the late-sixteenth century, Augsburg was one of the largest cities of the Holy Roman Empire, boasting an active musical life involving the contributions of musicians like Jacobus de Kerle, Hans Leo Hassler, and Gregor Aichinger. This musical culture, however, unfolded against a backdrop of looming religious schism. From the mid-sixteenth century onward, Augsburg was the largest 'biconfessional' city in the Empire, housing a Protestant majority and a Catholic minority, ruled by a city government divided between the two faiths. The period 1580-1630 saw a gradual widening of the divide between these groups. The arrival of the Jesuits in the 1580s polarized the religious atmosphere and fueled the assertion of a Catholic identity, expressed in public devotional services, spectacular processions, and pilgrimages to local shrines. The Catholic music produced for these occasions both reflected and contributed to the religious divide. This book explores the relationship between music and religious identity in Augsburg during this period. How did 'Catholic' and 'Protestant' repertories diverge from one another? What was the impetus for this differentiation, and what effect did the circulation and performance of this music have on Augsburg's religious culture? These questions call for a new, cross-disciplinary approach to the music history of this era, one which moves beyond traditional accounts of the lives and works of composers, or histories of polyphonic genres. Using a wide variety of archival and musical documents, Alexander Fisher offers a holistic view of this musical landscape, examining aspects of composition, circulation, performance, and cultural meaning.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

This is a complete revision of the second edition, designed as a guide and resource in the study of music from the earliest times through the Renaissance period. The authors have completely revised and updated the bibliographies; in general they are limited to English language sources. In order to facilitate study of this period and to use materials efficiently, references to facsimiles, monumental editions, complete composers' works and specialized anthologies are given. The authors present this systematic organization in this volume in the hope that students, teachers, and performers may find in it a ready tool for developing a comprehensive understanding of the music of this period.

From the series examining the development of music in specific places during particular times, this book looks at European countries at the time of the Renaissance, concentrating on Italy. It is to be published in conjunction with a television series.

The Ministry of Cantors addresses the role of the cantor by clarifying what liturgy and liturgical music are about and helping cantors find their role within that understanding. Several chapters deal with the cantor's primary role as psalmist. Subsequent chapters address the cantor's secondary role as song leader, the cantor gesture, and the identification and formation of persons called to this ministry. The final chapter identifies concrete ways the cantor is called to surrender self to the transforming power of the paschal mystery. Book jacket.