Faith and Spirituality: Jewish

Jewish educational projects and programs are thriving, attracting philanthropic support for exciting and creative approaches in every sector and setting. But underneath that energy, we are not as clear as we ought to be about desired outcomes, the kinds of learning needed to achieve these, and how those kinds of learning actually occur. This volume is the first of its kind to bring together scholars from inside Jewish education and from the learning sciences. It offers a set of critical perspectives on learning, sometimes borrowing models from other domains (such as science) and sometimes examining specific domains within Jewish education (such as havruta learning or the learning of Jewish history). Collectively, these contributions help to advance a smarter, sharper conversation about Jewish learning that matters.

Stolen Words is an epic story about the largest collection of Jewish books in the world--tens of millions of books that the Nazis looted from European Jewish families and institutions. Nazi soldiers and civilians emptied Jewish communal libraries, confiscated volumes from government collections, and stole from Jewish individuals, schools, and synagogues. Early in their regime the Nazis burned some books in spectacular bonfires, but most they saved, stashing the literary loot in castles, abandoned mine shafts, and warehouses throughout Europe. It was the largest and most extensive book-looting campaign in history.   After the war, Allied forces discovered these troves of stolen books but quickly found themselves facing a barrage of questions. How could the books be identified? Where should they go? Who had the authority to make such decisions? Eventually the military turned the books over to an organization of leading Jewish scholars called Jewish Cultural Reconstruction, Inc.--whose chairman was the acclaimed historian Salo Baron and whose on-the-ground director was the philosopher Hannah Arendt--with the charge of establishing restitution protocols.   Stolen Words is the story of how a free civilization decides what to do with the material remains of a world torn asunder, and how those remains connect survivors with their past. It is the story of Jews struggling to understand the new realities of their post-Holocaust world and of Western society's gradual realization of the magnitude of devastation wrought by World War II. Most of all, it is the story of people --of Nazi leaders, ideologues, and Judaica experts; of Allied soldiers, scholars, and scoundrels; and of Jewish communities, librarians, and readers around the world.

Many Jewish artists and writers contributed to the creation of popular comics and graphic novels, and in The Quest for Jewish Belief and Identity in the Graphic Novel, Stephen E. Tabachnick takes readers on an engaging tour of graphic novels that explore themes of Jewish identity and belief. The creators of Superman (Jerry Siegel and Joe Shuster), Batman (Bob Kane and Bill Finger), and the Marvel superheroes (Stan Lee and Jack Kirby), were Jewish, as was the founding editor of Mad magazine (Harvey Kurtzman). They often adapted Jewish folktales (like the Golem) or religious stories (such as the origin of Moses) for their comics, depicting characters wrestling with supernatural people and events. Likewise, some of the most significant graphic novels by Jews or about Jewish subject matter deal with questions of religious belief and Jewish identity. Their characters wrestle with belief - or nonbelief - in God, as well as with their own relationship to the Jews, the historical role of the Jewish people, the politics of Israel, and other issues related to Jewish identity. In The Quest for Jewish Belief and Identity in the Graphic Novel, Stephen E. Tabachnick delves into the vivid kaleidoscope of Jewish beliefs and identities, ranging from Orthodox belief to complete atheism, and a spectrum of feelings about identification with other Jews. He explores graphic novels at the highest echelon of the genre by more than thirty artists and writers, among them Harvey Pekar (American Splendor), Will Eisner (A Contract with God), Joann Sfar (The Rabbi's Cat), Miriam Katin (We Are On Our Own), Art Spiegelman (Maus), J. T. Waldman (Megillat Esther), Aline Kominsky Crumb (Need More Love), James Sturm (The Golem's Mighty Swing), Leela Corman (Unterzakhn), Ari Folman and David Polonsky (Waltz with Bashir), David Mairowitz and Robert Crumb's biography of Kafka, and many more. He also examines the work of a select few non- Jewish artists, such as Robert Crumb and Basil Wolverton, both of whom have created graphic adaptations of parts of the Hebrew Bible. Among the topics he discusses are graphic novel adaptations of the Bible; the Holocaust graphic novel; graphic novels about the Jews in Eastern and Western Europe and Africa, and the American Jewish immigrant experience; graphic novels about the lives of Jewish women; the Israel-centered graphic novel; and the Orthodox graphic novel. The book concludes with an extensive bibliography. No study of Jewish literature and art today can be complete without a survey of the graphic novel, and scholars, students, and graphic novel fans alike will delight in Tabachnick's guide to this world of thought, sensibility, and artfulness.