Cooking for kids can be tricky but this book, packed with recipes that have been tried and tested by thousands of kids, is here to help. Feeding kids is a maze - one day they'll eat a whole cucumber from one end to the other; for the next three weeks, they will swear it's a slimy snozzcumber. Whether time or cash strapped, it's all too tempting to turn to fish fingers, bangers and mash and other kids' classics, whilst wishing it was easier to do it better on all fronts: more exciting, more inspiring, more wholesome. If only there was someone out there who knew how to feed kids really well on a budget, who could inspire them to try different food, and make it easy on the cook and easy on the pocket! Well, there is. And Chefs in Schools would like to help. Chefs in Schools is a charity that operates in over 80 schools and feeds up to 30,000 pupils a day. They have a plethora of renowned chefs that support and endorse them as their patrons or trustees, including Thomasina Miers, Yotam Ottolenghi, Henry Dimbleby, Prue Leith and Amelia Freer. This cookbook stands apart from other 'cooking for kids' cookbooks as the recipes are tried and tested on thousands of children. They're nutritious and proven to work. This cookbook tells the stories and shares the recipes of the people who are helping to transform school food. Their mission is to teach children to love and understand real food cooked from fresh ingredients, and to inspire them not just to eat it, but to choose it, and to learn to cook it for themselves too. Chapters include: Breakfast, A New Way In, Midweek Suppers, Street Food & Snacks, Feasting, Sides & Sharing, Bread, Desserts. "Bye bye boring school dinners - this is the future of food for our kids" - Tom Kerridge "A brilliantly inspiring book packed with seriously good family focussed recipes. A total must have." - Thomasina Miers

Midrash is arguably the most ancient genre of Jewish literature, forming a voluminous body of scriptural exegesis over the course of centuries. There is hardly anything in the ancient rabbinic universe that was not taught through this medium. The diversity and development of that creative profusion are presented here in a new light. The contributors cover a broad range of texts, from late antiquity to the modern period and from all the centres of literary creativity, including non-rabbinic and non-Jewish literature, so that the full extent of the modes and transformations of Midrash can be fully appreciated. A comprehensive introduction situates Midrash in its historical and cultural setting, pointing to creative adaptations within the tradition and providing a sense of the variety of genres and applications discussed in the body of the book. Bringing together an impressive array of the leading names in the field, the volume is innovative in both its scope and content, seeking to open a new period in the study of Midrash and its creative role in the formation of culture. It should be of interest to all scholars of Jewish studies, as well as to a wider readership interested in the interrelationships between hermeneutics, culture, and creativity, and especially in the afterlife of a classical genre and its ability to inspire new creativity in many forms. Contributors: Philip Alexander, Sebastian Brock, Jacob Elbaum, Michael Fishbane, Robert Hayward, William Horbury, Sara Japhet, Ephraim Kanarfogel, Naftali Loewenthal, Ivan G. Marcus, Alison Salvesen, Marc Saperstein, Chava Turniansky, Piet van Boxel, Joanna Weinberg, Benjamin Williams, Elliot Wolfson, Eli Yassif.

Midrash is arguably the most ancient genre of Jewish literature, forming a voluminous body of scriptural exegesis over the course of centuries. There is hardly anything in the ancient rabbinic universe that was not taught through this medium. The diversity and development of that creative profusion are presented here in a new light. The contributors cover a broad range of texts, from late antiquity to the modern period and from all the centres of literary creativity, including non-rabbinic and non-Jewish literature, so that the full extent of the modes and transformations of Midrash can be fully appreciated. A comprehensive introduction situates Midrash in its historical and cultural setting, pointing to creative adaptations within the tradition and providing a sense of the variety of genres and applications discussed in the body of the book. Bringing together an impressive array of the leading names in the field, the volume is innovative in both its scope and content, seeking to open a new period in the study of Midrash and its creative role in the formation of culture. It should be of interest to all scholars of Jewish studies, as well as to a wider readership interested in the interrelationships between hermeneutics, culture, and creativity, and especially in the afterlife of a classical genre and its ability to inspire new creativity in many forms. Contributors: Philip Alexander, Sebastian Brock, Jacob Elbaum, Michael Fishbane, Robert Hayward, William Horbury, Sara Japhet, Ephraim Kanarfogel, Naftali Loewenthal, Ivan G. Marcus, Alison Salvesen, Marc Saperstein, Chava Turniansky, Piet van Boxel, Joanna Weinberg, Benjamin Williams, Elliot Wolfson, Eli Yassif.

Shortly before his death in 1577, the Mantuan Jewish scholar Azariah de' Rossi wrote a challenging and provocative treatise in Italian. Addressing a Christian readership at a time when the authenticity and authority of the Vulgate had been called into question, de' Rossi presented critical readings of specific verses and phrases in the New Testament, particularly the Aramaisms, clarifying and emending the Vulgate on the basis of the ancient Syriac version which had recently been printed (Vienna, 1555). Few Western scholars had any familiarity with Syriac; this learned Jew's contribution to New Testament studies thus appears all the more remarkable. De' Rossi's work was commissioned by Giacomo Boncompagni, the son of Pope Gregory XIII, and dedicated to the cardinal Santa Severina, Giulio Antonio Sanotoro.

This collection of essays treats a topic that has scarcely been approached in the literature on Hebrew and Hebraism in the early modern period. In the seventeenth century, Christians, especially Protestants, studied the Mishnah alongside a host of Jewish commentaries in order to reconstruct Jewish culture, history, and ritual, shedding new light on the world of the Old and New Testaments. Their work was also inextricably dependent upon the vigorous Mishnaic studies of early modern Jewish communities. Both traditions, in a sense, culminated in the monumental production in six volumes of an edition and Latin translation of the Mishnah published by Guilielmus Surenhusius in Amsterdam between 1698 and 1703. Surenhusius gathered up more than a century's worth of Mishnaic studies by scholars from England, Germany, the Netherlands, and Sweden, as well as the commentaries of Maimonides and Obadiah of Bertinoro (c. 1455-c.1515), but this edition was also born out of the unique milieu of Amsterdam at the end of the seventeenth century, a place which offered possibilities for cross-cultural interactions between Jews and Christians. With Surenhusius's great volumes as an end point, the essays presented here discuss for the first time the multiple ways in which the canonical text of Jewish law, the Mishnah (c.200 CE), was studied by a variety of scholars, both Jewish and Christian, in early modern Europe. They tell the story of how the Mishnah generated an encounter between different cultures, faiths, and confessions that would prove to be enduringly influential for centuries to come.

Fusing high scholarship with high drama, Anthony Grafton and Joanna Weinberg uncover a secret and extraordinary aspect of a legendary Renaissance scholar's already celebrated achievement. The French Protestant Isaac Casaubon (1559-1614) is known to us through his pedantic namesake in George Eliot's Middlemarch. But in this book, the real Casaubon emerges as a genuine literary hero, an intrepid explorer in the world of books. With a flair for storytelling reminiscent of Umberto Eco, Grafton and Weinberg follow Casaubon as he unearths the lost continent of Hebrew learning-and adds this ancient lore to the well-known Renaissance revival of Latin and Greek. The mystery begins with Mark Pattison's nineteenth-century biography of Casaubon. Here we encounter the Protestant Casaubon embroiled in intellectual quarrels with the Italian and Catholic orator Cesare Baronio. Setting out to understand the nature of this imbroglio, Grafton and Weinberg discover Casaubon's knowledge of Hebrew. Close reading and sedulous inquiry were Casaubon's tools in recapturing the lost learning of the ancients-and these are the tools that serve Grafton and Weinberg as they pore through pre-1600 books in Hebrew, and through Casaubon's own manuscript notebooks. Their search takes them from Oxford to Cambridge, from Dublin to Cambridge, Massachusetts, as they reveal how the scholar discovered the learning of the Hebrews-and at what cost.