Phoenician culture was that of autonomous city-states. Indeed, the Phoenicians seem to have zealously held on to this Bronze Age social structure long after it gave way to nationalism and statehood in the southern Levant. Modern scholars often tend to emphasize the regional and individual nature of each Phoenician city to a point that some even question whether the Phoenicians can be referred to as an ethnic unit. As Aubet (2001: 9) stated, the Phoenicians were "a people without a state, without territory and without political unity." In this study, the author aims at examining this very issue through an analysis of the Phoenicians in the eastern Mediterranean during the Iron Age I-III, ca. 1200-332 BCE, the zenith of the Phoenician civilization. By analyzing various aspects of the material culture which were unique to the Phoenicians throughout the periods in question, the author shall attempt to identify a 'Phoenician koine', i.e. a shared material culture which reflected a common ethnic, religious, cultic, and social identity (Burke 2008: 160), which developed despite the lack of political unity.

Now available in English, a provocative new biography of the founder of Hasidism

Moshe Rosman's award-winning research supplies the history behind the legend of the Ba'al Shem Tov and thus changes the master-narrative of hasidism.

It provides a detailed sketch of the historical background of the early Hasidic movement and charts its central ideas within the wider intellectual and historical context of Jewish religious and mystical thought."--BOOK JACKET.

Hasidic Art and the Kabbalah presents eight case studies of manuscripts, ritual objects, and folk art developed by Hasidic masters in the mid-eighteenth to late nineteenth centuries, whose form and decoration relate to sources in the Zohar, German Pietism, and Safed Kabbalah. Examined at the delicate and difficult to define interface between seemingly simple, folk art and complex ideological and conceptual outlooks which contain deep, abstract symbols, the study touches on aspects of object history, intellectual history, the decorative arts, and the history of religion. Based on original texts, the focus of this volume is on the subjective experience of the user at the moment of ritual, applying tenets of process philosophy and literary theory – Wolfgang Iser, Gaston Bachelard, and Walter Benjamin – to the analysis of objects.