This is the first full-length biography of Judah Leib Gordon (1830-92), the most important Hebrew poet of the 19th century, and one of the pivotal intellectual and cultural figures in Russian Jewry. Setting Gordon's life and work amidst the political, cultural, and religious upheavals of his society, Stanislawski attempts to counter traditional stereotypical readings of Eastern European Jewish history. As a prominent and passionate exponent of the Jewish Enlightenment in Russia, Gordon advocated a humanist and liberal approach to all the major questions facing Jews in their tortuous transition to modernity--the religious reform of Judaism, the attractions and limits of political liberalism, the relations between Jews and Gentiles, the nature of modern anti-Semitism, the status of women in Jewish life, the possibility of a secular Jewish culture, the nature of Zionism, and the relations between Jews in the Diaspora and the Jewish community in the Land of Israel. His personal story is a fascinating drama that both symbolizes and summarizes the cultural and political challenges facing Russian Jewry at a crucial time in its history, challenges that remain pertinent and controversial today.

How could a Jew kill a Jew for religious and political reasons? Many people asked this question after an Orthodox Jew assassinated Israeli Prime Minister Itshak Rabin in 1995. But historian Michael Stanislawski couldn't forget it, and he decided to find out everything he could about an obscure and much earlier event that was uncannily similar to Rabin's murder: the 1848 killing--by an Orthodox Jew--of the Reform rabbi of Lemberg (now L'viv, Ukraine). Eventually, Stanislawski concluded that this was the first murder of a Jewish leader by a Jew since antiquity, a prelude to twentieth-century assassinations of Jews by Jews, and a turning point in Jewish history. Based on records unavailable for decades, "A Murder in Lemberg" is the first book about this fascinating case.

On September 6, 1848, Abraham Ber Pilpel entered the kitchen of Rabbi Abraham Kohn and his family and poured arsenic in the soup that was being prepared for their dinner. Within hours, the rabbi and his infant daughter were dead. Was Kohn's murder part of a conservative Jewish backlash to Jewish reform and liberalization in a year of European revolution? Or was he killed simply because he threatened taxes that enriched Lemberg's Orthodox leaders?

Vividly recreating the dramatic story of the murder, the trial that followed, and the political and religious fallout of both, Stanislawski tries to answer these questions and others. In the process, he reveals the surprising diversity of Jewish life in mid-nineteenth-century eastern Europe. Far from being uniformly Orthodox, as is often assumed, there was a struggle between Orthodox and Reform Jews that was so intense that it might have led to murder.

A comprehensive look at Louise Nevelson's career as a pioneering sculptor Louise Nevelson (1900-1988) was a towering figure in postwar American art, exerting great influence with her monumental installations, innovative sculptures made of found objects, and celebrated public artworks. The Sculpture of Louise Nevelson focuses on all phases of the artist's remarkable ascent to the top of the art world, from her groundbreaking works of the 1940s to complex pieces completed in the late 1980s. The most extensive study of Nevelson to be published in over 20 years, this beautifully illustrated book also demonstrates how Nevelson's flamboyant style and carefully cultivated persona enhanced her reputation as an artist of the first rank. Essays by distinguished scholars examine a wide variety of important issues and themes throughout Nevelson's career, including the role of monochromatic color in her painted wooden sculpture; the art-historical context of her work; her acclaimed large-scale commissioned artworks, which established her as a central figure in the public art revival of the late 1960s; and her "self-fashioning" as a celebrated artist, particularly her origins as a Ukrainian-born Jewish immigrant to the United States. An illustrated chronology and exhibition history accompany the text. Published in conjunction with the first major exhibition of Nevelson's work in America since 1980, this book provides essential information on and insights into the study of a revolutionary 20th-century artist.

"The beginning of this tale of bygone days in Odessa dates to the dawn of the twentieth century. At that time we used to refer to the first years of this period as the 'springtime, ' meaning a social and political awakening. For my generation, these years also coincided with our own personal springtime, in the sense that we were all in our youthful twenties. And both of these springtimes, as well as the image of our carefree Black Sea capital with acacias growing along its steep banks, are interwoven in my memory with the story of one family in which there were five children: Marusya, Marko, Lika, Serezha, and Torik." from The Five

The Five is an captivating novel of the decadent fin-de-siecle written by Vladimir Jabotinsky (1880 1940), a controversial leader in the Zionist movement whose literary talents, until now, have largely gone unrecognized by Western readers. The author deftly paints a picture of Russia's decay and decline a world permeated with sexuality, mystery, and intrigue. Michael R. Katz has crafted the first English-language translation of this important novel, which was written in Russian in 1935 and published a year later in Paris under the title Pyatero.

The book is Jabotinsky's elegaic paean to the Odessa of his youth, a place that no longer exists. It tells the story of an upper-middle-class Jewish family, the Milgroms, at the turn of the century. It follows five siblings as they change, mature, and come to accept their places in a rapidly evolving world. With flashes of humor, Jabotinsky captures the ferment of the time as reflected in political, social, artistic, and spiritual developments. He depicts with nostalgia the excitement of life in old Odessa and comments poignantly on the failure of the dream of Jewish assimilation within the Russian empire."

Michael Stanislawski's provocative study of Max Nordau, Ephraim Moses Lilien, and Vladimir Jabotinsky reconceives the intersection of the European fin de siecle and early Zionism. Stanislawski takes up the tantalizing question of why Zionism, at a particular stage in its development, became so attractive to certain cosmopolitan intellectuals and artists. With the help of hundreds of previously unavailable documents, published and unpublished, he reconstructs the ideological journeys of writer and critic Nordau, artist Lilien, and political icon Jabotinsky. He argues against the common conception of Nordau and Jabotinsky as nineteenth-century liberals, insisting that they must be understood against the backdrop of Social Darwinism in the West and the Positivism of Russian radicalism in the fin de siecle, as well as Symbolism, Decadence, and Art Nouveau.
When these men turned to Zionism, Stanislawski says, far from abandoning their aesthetic and intellectual preconceptions, they molded Zionism according to their fin de siecle cosmopolitanism. Showing how cosmopolitanism turned to nationalism in the lives and work of these crucial early Zionists, this story is a fascinating chapter in European and Russian, as well as Jewish, cultural and political history.

In this Very Short Introduction, Michael Stanislawski presents an impartial and disinterested history of Zionist ideology from its origins to the present. Sharp and accessible, he charts the crucial moments in the ideological development of Zionism, including the emergence of modern Jewish nationalism in early nineteenth century Europe, the founding of the Zionist movement by Theodor Herzl in 1897, right through to the rise of the aPeace Nowa movement, and the election of conservative prime minister Benjamin Netanyahu. Stanislawski's balanced analysis of these controversial events illuminates why, despite the undeniable success in its goal of creating a Jewish state, profound questions remain today about the long-term viability of Zionist ideology in a rapidly destabilizing Middle East. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Autobiographical Jews examines the nature of autobiographical writing by Jews from antiquity to the present, and the ways in which such writings can legitimately be used as sources for Jewish history. Drawing on current literary theory, which questions the very nature of autobiographical writing and its relationship to what we normally designate as the truth, and, to a lesser extent, the new cognitive neurosciences, Michael Stanislawski analyzes a number of crucial and complex autobiographical texts written by Jews through the ages. Stanislawski considers The Life by first-century historian Josephus; compares the early modern autobiographies of Asher of Reichshofen (Book of Memories) and Glikl of Hameln (Memoirs); analyzes the radically different autobiographies of two Russian Jewish writers, the Hebrew Enlightenment author Moshe Leib Lilienblum and the famous Russian poet Osip Mandelstam; and looks at two autobiographies written out of utter despair in the midst and in the wake of World War II, Stefan Zweig's The World of Yesterday and Sarah Kofman's Rue Ordener, Rue Labat. These writers' attempts to portray their private and public struggles, anxieties, successes, and failures are expressions of a basic drive for selfhood which is both timeless and time-bound, universal and culturally specific. The challenge is to attempt to unravel the conscious from the unconscious distortions in these texts and to regard them as artifacts of individuals' quests to make sense of their lives, first and foremost for themselves and then, if possible, for their readers.

The Five is an captivating novel of the decadent fin-de-siecle written by Vladimir Jabotinsky (1880-1940), a controversial leader in the Zionist movement whose literary talents, until now, have largely gone unrecognized by Western readers. The author deftly paints a picture of Russia's decay and decline - a world permeated with sexuality, mystery, and intrigue. Michael R. Katz has crafted the first English-language translation of this important novel, which was written in Russian in 1935 and published a year later in Paris under the title Pyatero. The book is Jabotinsky's elegaic paean to the Odessa of his youth, a place that no longer exists. It tells the story of an upper-middle-class Jewish family, the Milgroms, at the turn of the century. It follows five siblings as they change, mature, and come to accept their places in a rapidly evolving world. With flashes of humor, Jabotinsky captures the ferment of the time as reflected in political, social, artistic, and spiritual developments. He depicts with nostalgia the excitement of life in old Odessa and comments poignantly on the failure of the dream of Jewish assimilation within the Russian empire.

Autobiographical Jews examines the nature of autobiographical writing by Jews from antiquity to the present, and the ways in which such writings can legitimately be used as sources for Jewish history. Drawing on current literary theory, which questions the very nature of autobiographical writing and its relationship to what we normally designate as the truth, and, to a lesser extent, the new cognitive neurosciences, Michael Stanislawski analyzes a number of crucial and complex autobiographical texts written by Jews through the ages. Stanislawski considers The Life by first-century historian Josephus; compares the early modern autobiographies of Asher of Reichshofen (Book of Memories) and Glikl of Hameln (Memoirs); analyzes the radically different autobiographies of two Russian Jewish writers, the Hebrew Enlightenment author Moshe Leib Lilienblum and the famous Russian poet Osip Mandelstam; and looks at two autobiographies written out of utter despair in the midst and in the wake of World War II, Stefan Zweig's The World of Yesterday and Sarah Kofman's Rue Ordener, Rue Labat. These writers' attempts to portray their private and public struggles, anxieties, successes, and failures are expressions of a basic drive for selfhood which is both timeless and time-bound, universal and culturally specific. The challenge is to attempt to unravel the conscious from the unconscious distortions in these texts and to regard them as artifacts of individuals' quests to make sense of their lives, first and foremost for themselves and then, if possible, for their readers.