New Issue of the Jewish Quarterly Review: Winter 2022

March 10, 2022
The Jewish Quarterly Review

The TOC in Brief

ruta plant illustration on top of beige brick background

JQR 112.1 is now available, online* and in print. 

In this issue:

Simcha Gross and Avigail Manekin-Bamberger introduce Aramaic incantation bowls that draw on rabbinic and elite literary sources, forcing a reevaluation of the “popular” religion traditionally ascribed to the bowls.

Pinchas Roth finds deep-seated anxieties about the state of Jewish knowledge and communal memory among four rabbinic writers in late medieval Provence.

Omri Shasha’s treatment of one zoharic story cycle offers a rare glimpse into the composition and editing techniques of the authors of the Zohar.

Claude Stuczynski examines the Inquisition-era sermons of Jesuit António Vieira as a novel means to understand his pro-Converso and pro-Jewish attitudes.

Sarah Abrevaya Stein explores modern Sephardic Jews’ abiding affection for the plant called rue, or ruda as it is known in Ladino, as a way to look at the diasporic culture of Jews from the modern Ottoman Balkans.

James Loeffler asks why Raphel Lemkin, the Polish Jew who coined the word “genocide,” chose to locate its archetypal origins in early Christian martyrdom, suggesting that Lemkin was haunted by a charge of Jewish moral parochialism after an interwar confrontation with Catholic antisemitism. This essay is free to access on Project Muse without a subscription for six months.

Asher D. Biemann situates Franz Rosenzweig’s Star of Redemption within an interwar philosophical eternalism in which eternity appeared as a worldly concept resisting historical pessimism and the politics of fate.

Check back here for related content coming soon.

*The most recent four years of JQR are distributed online to subscribers through Project Muse.

As always, see to subscribe and get access to all 130 years of JQR content.



About the Author

The Jewish Quarterly Review

The Jewish Quarterly Review

The Jewish Quarterly Review is edited by David Myers, Natalie Dohrmann, and Anne Albert.

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