Discusses the cause célèbre of Edgardo Mortara, who in 1858, at the age of six, was taken by force from his Jewish home in Bologna by the pontifical police on the grounds that he had been baptized as an infant by a family servant. Despite the efforts of his family, Jews in Italy and abroad, and foreign ambassadors and rulers, he was never returned to his family. Pope Pius IX defended the Church's policy of remaining true to its salvationist ideology, and refused to surrender the boy. Edgardo ultimately chose not to return to Judaism but to become a priest. (He died in a Belgian abbey in March 1940.) The case is shown to be pivotal in terms of the unification of Italy and the loss of papal power. Describes the various ways Jews attempted, unsuccessfully, to free Mortara: quiet diplomacy, legal means, the involvement of influential Jews, the Jewish and non-Jewish press, and self-defense organizations (the Alliance Israélite Universelle was founded in reaction to the kidnapping). Reveals much about Christian-Jewish relations on the political and social level, one aspect of which was relations between Jewish employers and Christian servants.

8 September 1943. Italy has sued for peace with the Allies and 14-year-old Claudette Blum is learning Italian on the run. She and her father are among the thousands of Jewish refugees scrambling over the Alps to where they hope they will be safe at last. What they don't know is that tomorrow Italy will be under German occupation and about to become a vicious battleground between the Nazis, an increasingly confident resistance and the advancing Allies... Set against this dramatic historical backdrop, Mary Doria Russell's new novel recalls - through the lives of a handful of brilliantly-drawn characters- a mercurial Italian resistance leader, a Catholic priest, an Italian rabbi's family, a disillusioned Wehrmacht doctor - the little known conspiracy of ordinary Italians who saved the lives of thousands of Jews during the final, desperate 20 months of the war. Full of drama, warmth, nobility and, for all the darkness, hope, A THREAD OF GRACE tells a story of ordinary people caught up in extraordinary times and accomplishing remarkable things. It is a breathtaking achievement.

"In the post-war era Jews have been incomparably less numerous than before and often deeply assimilated. Still, their presence's felt as big. The book is scholarly and also deeply personal. Most of the events and processes described here have a strong connection to the author's life, particularly the post-1968 mini-renaissance of Jewish life, especially in its religious variety, and advances in the realm of Jewish-Christian relations and particularly of Jewish-Christian dialogue. In addition to an account of the history of Jews in Poland after 1945, Jewish-Christian dialogue in that period, including meeting with the Polish pope, the chapters treat the concept of de-assimilation used as a key to understand the most recent phase of the story, analyze how Jewish were Jewish Communists, ponder what were the assumptions behind the post-war section of the core exhibition in POLIN, and offer an original proposal why the Holocaust is widely considered as unique"--

In the final days of World War II, a band of Jewish partisans makes its way from Russia to Italy, moving toward the ultimate goal of Palestine. Based on a true story, the novel chronicles their adventures as they wage a personal war of revenge against the Nazis: blowing up trains, rescuing the last victims of concentration camps, scoring victories in the face of unspeakable devastation. Primo Levi captures the landscape and the people of Eastern Europe in vivid detail, depicting as well the terrible bleakness of war-ridden Europe. But finally, what he gives us is a tribute to the strength and ingenuity of the human spirit.

Italy, August 1944. A unit of German soldiers arrives at a villa near Florence. Villa Il Focardo is home to Robert Einstein, cousin to the most famous scientist in the world, Albert Einstein - a prominent enemy of the Nazi regime. Twelve hours after arriving, the soldiers have vanished - and a family is dead. This crime - and what happened next - still haunts those who survived. In The Einstein Vendetta , Thomas Harding recounts the story of an until-now untold true crime, one that unspools to reveal Italy's brutal wartime history - its fall to fascism, antisemitism and bitter partisanship - and a family's search for justice.

"This beautiful work of historical fiction was inspired by the diary of an actual 18th-century Roman Jewish girl, imprisoned by the Catholic Church because someone with a grudge offered her to the Church. Anything But Yes is the true story of a young woman's struggle to defend her identity in the face of relentless attempts to destroy it. In 1749, 18-year-old Anna del Monte was seized at gunpoint from her home in Rome's Jewish ghetto and thrown into a convent cell at the Casa dei Convertiti, the house of converts. With no access to the outside world, she withstood isolation, sleep deprivation, endless lectures, and threats and promises. If Anna were to utter the simple word "yes," she would risk forced baptism, which meant never returning to her home and losing contact with any Jew-including her own family-for the rest of her life. Even in Italy today, few people know the full story of Rome's Jewish ghetto, the abduction of Jews, or the popes who were intent on forcibly converting every non-Catholic living in the long shadow of the Vatican. Young girls and small children were the primary targets of these forced conversions, for they were most vulnerable. But Anna del Monte was different. She was strong, brilliant, and educated, and wrote a diary of her experiences. Her diary became lost for more than 200 years but was rediscovered in Israel in 1989. Anything But Yes is based on Anna's diary and Joie Davidow's extensive research on life in the 18th-century Roman Jewish ghetto and its personalities, traditions, foods, and dialect"--

In Ferrara, Italy, an adolescent Jewish boy is led into misconduct and guilty knowledge by a cynical classmate, in the 1930's.

" For Solo Violin is a gracefully written, elegiac memoir of childhood."— The Los Angeles Times "An eloquent tribute to [and] a moving account of those who, despite the cruelty of so many around them, found ways to rejoice and trust in the kindness of a few. One is instantly reminded of Life Is Beautiful ."—André Aciman, author of Out of Egypt In an extraordinary literary debut, Aldo Zargani reconstructs the lost world of his Jewish childhood during the perilous years 1938–45 when he and his family fled from Fascists and Nazis in northern Italy. His haunting memoir acquires a cinematic intensity as he crosscuts from the blood-red stone spires of Basel, where his father failed to find refuge for his family in 1939, to fiery scenes of the Allied bombing of Turin in 1942, to the freezing winter of 1943–44, which Zargani and his brother spent hidden in a Catholic boarding school deep in the countryside. For Solo Violin is filled with colorful portraits of Italian aristocrats and peasants, priests and soldiers, teachers and students, informers and partisans. At its heart is Zargani's vivid depiction of his father, a concert violinist forced to give up his career when the Fascists came to power. In this time of persecution, the Zargani family survived through their own resourcefulness and through the efforts of the many Italians who came to their aid, from the young doctor who helped them escape from Turin to the shepherd who supplied them with milk during the last year of the war, when they lived among the partisans in a remote Piedmont valley. Looking back over a distance of fifty years, Zargani rediscovers the enchantment of childhood shining in "fable-like constellations" even amidst the inferno of war. Lullabies and school games, fairy tales and family jokes are interwoven with the events of terror and oppression. Lyrical, humorous, tender, and wise, For Solo Violin is a testament to resilience and hope during the darkest period in human history. "A broad panorama of Italian-Jewish history in [the last] century. Elegant in its style and, however tragic, also rich with understatement, irony, and wit, For Solo Violin counts among the great, enduring works of art."— Focus Magazine , Germany "A tragic, deeply engaging, delicious book—yes delicious, too. (Reading it makes you smile.) It's a miracle…It makes one think of the wit of Kafka!"— L'Espresso , Italy "Zargani depicts a wealth of sad, despairing, but often also incredibly funny episodes…But vibrating along with the humor is always the sense of threat, and behind it opens the abyss of terror."— Neue Zürcher Zeitung , Switzerland

Richard Sennett has spent an intellectual lifetime exploring how humans live in cities. In this pair of essays he visits two of the world's greatest cities at crucial moments in their history to meditate on the condition of exile in both geographical and psychic space: the Jewish Ghetto of Renaissance Venice, where state-imposed outsiderdom was translated into a rich community identity; and nineteenth-century Paris, a magnet for political exiles, where the experience of displacement seeped into the city's culture at large.--Back cover

Composed in Hebrew in Capua, Italy in 1054, the family chronicle of Ahima'az remains one of the most important historical sources of medieval Jewish life, folklore, culture, and mentalités in Western Europe, especially in the so-called Ashkenazi area. As such, it provides a rich resource to scholars of medieval history, cultural studies, gender studies, and anthropology. In this book Robert Bonfil provides a detailed historical introduction and new English translation of the chronicle. Readers knowledgeable in Hebrew will also greatly benefit from the new, vocalized critical edition of the Hebrew text, skillfully set up in front of the translation.

This book explores a heretical blueprint for Jewish modernization written by a Venetian rabbi (under cover of pseudonym) in the early seventeenth century, almost two centuries before political emancipation. The analysis of this text, Kol Sakhal ("Voice of a Fool"), highlights the ways in which it harnessed concepts and methods drawn from the texts of rabbinic Judaism itself in order to reform Jewish culture from within. This book thus challenges the assumption that pre-modern Jewish society was culturally monolithic and unquestioningly obedient to rabbinic authority. In so doing, it raises fresh and unsettling questions about the periodization of Jewish history. Like the contemporaneous political and religious struggle that the Republic of Venice was waging against papal Rome, this remarkable Jewish attack on rabbinic authority targets—and revises—both the traditional historiography of sacred institutions and the legal canon itself. The text's very iconoclasm is shown to derive from the corpus of rabbinic Judaism, for the preservation of certain strains of inquiry in traditional sources makes them a virtual repository of tolerated dissent. Conjecture about the possible influence that a recently discovered work by a heretical Iberian Jewish convert to Catholicism may have had on the composition of "Voice of a Fool" leads to a discussion of the types of heterodoxy that threatened rabbinic Jewish communities in Italy and elsewhere in the early modern period. Reflections on the significance of the mask adopted by the text's author and on his (false) claim that the work was composed in 1500 in Spain facilitate speculation about his motives in trying to reinvent history. The second half of the book presents the first annotated English translation of "Voice of a Fool." Three appendixes analyze evidence concerning the date and place of the text's composition, the identification of its author, and its various manuscripts.

Focusing on an epoch of spectacular demographic, political, economic, and cultural changes for European Jewry, Cultural Intermediaries chronicles the lives and thinking of ten Jewish intellectuals of the Renaissance, nine of them from Italy and one a Portuguese exile who settled in the Ottoman empire after a long sojourn in Italy. David B. Ruderman, Giuseppe Veltri, and the other contributors to this volume detail how, in the relative openness of cultural exchange encountered in such intellectual centers as Florence, Mantua, Pisa, Naples, Ferrara, and Salonika, these Jewish savants sought to enlarge their cultural horizons, to correlate the teachings of their own tradition with those outside it, and to rethink the meaning of their religious and ethnic identities within the intellectual and religious categories common to European civilization as a whole. The engaging intellectual profiles created especially for this volume by scholars from Israel, North America, and Europe represent an important rereading and reinterpretation of early modern Jewish culture and society and its broader European intellectual contexts.

"A wave of plague ravaged the cities of northern Italy in 1630-31, ravaging Christian and Jewish communities alike. In Writing Plague Susan L. Einbinder explores the Hebrew texts that lay witness to the event. These Jewish sources on the Great Italian Plague have never been treated together as a group, Einbinder observes, but they can contribute to a bigger picture of this major outbreak and how it affected people, institutions, and beliefs; how individuals and institutions responded; and how they did or did not try to remember and memorialize it"-- Provided by publisher.

The latter part of the thirteenth century is regarded as a key period in the history of Italian Jewry. During that time many Jewish communities sprang up in the regions of central and northern Italy. Their appearance marked a turning-point in the history of Jews in the Italian peninsula as the Jewish presence had previously been focused on Rome and the south. In this much-acclaimed study, originally published in Italian, Ariel Toaff captures all the intricacies of everyday life in the medieval Jewish communities of Umbria. A thorough examination of Hebrew and Italian archival sources enables him to characterize in detail the defining features of Jewish life in the region at that time and to show clearly how the common stereotype of a single, undifferentiated Jewish community does not reflect the reality. Instead, he presents a picture of a complex society that--far from being a 'mere' minority and somewhat isolated--actually contributed greatly to contemporary society and played a significant role in shaping it, while at the same time also being influenced by the surrounding Christian society. Professor Toaff elaborates contemporary Jewish traditions and practices associated with love, marriage, food, work, sickness, and death in the context of everyday social relations between Christians and Jews. In so doing he presents a full and fascinating reconstruction of the Jewish life of the period that faithfully reflects the links and divides between the two communities. Engagingly written, Love, Work, and Death: Jewish Life in Medieval Umbria will be of interest to the general reader, while its detailed references to archival documentation make it a particularly valuable source for students of medieval Jewish history and specialists in the social history of medieval and Renaissance Italy.

A study of Jewish-Christian relations in Assisi in the late medieval period. Inter alia, discusses anti-Jewish sermons by Franciscan friars in the 15th century, particularly by Fortunato Coppoli da Perugia. At his instigation, the Monte di Pieta was instituted in Assisi in 1468 in order to facilitate the passage of banking and finance from Jewish to Christian hands; other anti-Jewish measures were adopted as well. The Jews requested the intervention of Pope Paul II, who stated that all contracts with Jews were valid, but the Jews continued to be hounded by Franciscan preachers. In 1485 the Monte di Pieta and other measures were reinstituted, and shortly afterwards most of the Jews left the city. Pp. 101-213 contain documents, some of which refer to anti-Jewish measures.

Fifteenth-century Italy produced the earliest known treatises on the dance. Guglielmo Ebreo, an eminent Jewish dancing master, dedicated his `On the Practice or Art of Dancing' to the future Sforza duke of Milan in the determination to give dance the status enjoyed by music and other arts andsciences. He included not only choreographies (subsequently likened to the artistic achievements of Machaut, Leonardo, Dante, and Petrarch), but a Defence of the Dance, a Socratic dialogue, and theoretical precepts - still valid today - which clearly reflect the contemporary humanistic aesthetic andideals. Challenging exercises (such as dancing counter to the time of the music!) and advice to young ladies at balls are also described. Barbara Sparti has provided a heretofore unavailable (rare) source book for students, amateurs, and scholars: a critical edition in Italian and a facing English translation; dance tunes in facsimile and in annotated transcriptions based on the choreographies. Recent specialized studies and archivaldiscoveries have greatly enriched the introductory chapters on De pratica's history, the interpretation of its music, Guglielmo's life, and dancing in fifteenth-century Italy. An Appendix containing significant theoretical, musical, and choreographic additions from a later copy also has anAutobiography describing princely festivities, replete with names of participants, locations, and expenditures, of particular import to historians and those interested in court life in the Italian Renaissance. A Bibliography, Biographical Notes on Guglielmo's patrons, Illustrations depicting scenesof dancing, as well as a Glossary of dance, music, and humanistic terms, complete the critical apparatus.