Alef, Mem, Tau also discusses Islamic mysticism and Buddhist thought in relation to the Jewish esoteric tradition as it opens the possibility of a temporal triumph of temporality and the conquering of time through time."

A New Physiognomy of Jewish Thinking is a search for authenticity that combines critical thinking with a yearning for heartfelt poetics. A physiognomy of thinking addresses the figure of a life lived where theory and praxis are unified. This study explores how the critical essays on music of German-Jewish thinker, Theodor Wiesengrund Adorno (1903-1969) necessarily accompany the downfall of metaphysics. By scrutinizing a critical juncture in modern intellectual history, marked in 1931 by Adorno's founding of the Frankfurt Institute for Social Research, neglected applications of Critical Theory to Jewish Thought become possible. This study proffers a constructive justification of a critical standpoint, reconstructively shown how such ideals are seen under the genealogical proviso of re/cognizing their original meaning. Re/cognition of A New Physiognomy of Jewish Thinking redresses neglected applications of Negative Dialectics, the poetics of God, the metaphysics of musical thinking, reification in Zionism, the transpoetics of Physics and Metaphysics, as well as correlating Aesthetic Theory to Jewish Law (halakhah).

This long-awaited, magisterial study-an unparalleled blend of philosophy, poetry, and philology-draws on theories of sexuality, phenomenology, comparative religion, philological writings on Kabbalah, Russian formalism, Wittgenstein, Rosenzweig, William Blake, and the very physics of the time-space continuum to establish what will surely be a highwater mark in work on Kabbalah. Not only a study of texts, Language, Eros, Being is perhaps the fullest confrontation of the body in Jewish studies, if not in religious studies as a whole. Elliot R. Wolfson explores the complex gender symbolism that permeates Kabbalistic literature. Focusing on the nexus of asceticism and eroticism, he seeks to define the role of symbolic and poetically charged language in the erotically configured visionary imagination of the medieval Kabbalists. He demonstrates that the traditional Kabbalistic view of gender was a monolithic and androcentric one, in which the feminine was conceived as being derived from the masculine. He does not shrink from the negative implications of this doctrine, but seeks to make an honest acknowledgment of it as the first step toward the redemption of an ancient wisdom. Comparisons with other mystical traditions-including those in Christianity, Buddhism, and Islam-are a remarkable feature throughout the book. They will make it important well beyond Jewish studies, indeed, a must for historians of comparative religion, in particular of comparative mysticism. Praise for Elliot R. Wolfson: "Through a Speculum That Shines is an important and provocative contribution to the study of Jewish mysticism by one of the major scholars now working in this field."-Speculum

No one theory of time is pursued in the essays of this volume, but a major theme that threads them together is Wolfson’s signature idea of the timeswerve as a linear circularity or a circular linearity, expressions that are meant to avoid the conventional split between the two temporal modalities of the line and the circle.

Annotation In, Martin Heidegger set out an anti-Cartesian attack on Husserl that argued Cartesian philosophy falsely separates the subject from the world. In turn, Alweiss (philosophy, Trinity College, Ireland) contends that Heidegger failed in his attempt to, in her words, "reclaim the world." She defends Husserl's work, detailing the epistemological debate between the two philosophers, and thereby examining a central concern of modern analytic philosophy as it played out in the very different tradition of Continental thinking. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).

Menaḥem Mendel Schneerson (1902-1994) was the seventh and seemingly last Rebbe of the Habad-Lubavitch dynasty. Marked by conflicting tendencies, Schneerson was a radical messianic visionary who promoted a conservative political agenda, a reclusive contemplative who built a hasidic sect into an international movement, and a man dedicated to the exposition of mysteries who nevertheless harbored many secrets. Schneerson astutely masked views that might be deemed heterodox by the canons of orthodoxy while engineering a fundamentalist ideology that could subvert traditional gender hierarchy, the halakhic distinction between permissible and forbidden, and the social-anthropological division between Jew and Gentile. While most literature on the Rebbe focuses on whether or not he identified with the role of Messiah, Elliot R. Wolfson, a leading scholar of Jewish mysticism and the phenomenology of religious experience, concentrates instead on Schneerson's apocalyptic sensibility and his promotion of a mystical consciousness that undermines all discrimination. For Schneerson, the ploy of secrecy is crucial to the dissemination of the messianic secret. To be enlightened messianically is to be delivered from all conceptual limitations, even the very notion of becoming emancipated from limitation. The ultimate liberation, or true and complete redemption, fuses the believer into an infinite essence beyond all duality, even the duality of being emancipated and not emancipated an emancipation, in other words, that emancipates one from the bind of emancipation. At its deepest level, Schneerson's eschatological orientation discerned that a spiritual master, if he be true, must dispose of the mask of mastery. Situating Habad's thought within the evolution of kabbalistic mysticism, the history of Western philosophy, and Mahayana Buddhism, Wolfson articulates Schneerson's rich theology and profound philosophy, concentrating on the nature of apophatic embodiment, semiotic materiality, hypernomian transvaluation, nondifferentiated alterity, and atemporal temporality.

The classic work on the philosophy of music—now available in English to a new generation of readers Vladimir Jankélévitch left behind a remarkable body of work steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is "ineffable," as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world.

An exploration of the wakeful character of the dream and the dreamful character of wakefulness. Dreams have attracted the curiosity of humankind for millennia. In A Dream Interpreted Within a Dream, Elliot Wolfson guides the reader through contemporary philosophical and scientific models to the archaic wisdom that the dream state and waking reality are on an equal phenomenal footing--that the phenomenal world is the dream from which one must awaken by waking to the dream that one is merely dreaming that one is awake. By interpreting the dream within the dream, one ascertains the wakeful character of the dream and the dreamful character of wakefulness. Assuming that the manner in which the act of dreaming is interpreted may illuminate the way the interpreter comprehends human nature more generally, Wolfson draws on psychoanalysis, phenomenology, and neuroscience to elucidate the phenomenon of dreaming in a vast array of biblical, rabbinic, philosophical, and kabbalistic texts. To understand the dream, Wolfson writes, it is necessary to embrace the paradox of the fictional truth--a truth whose authenticity can be gauged only from the standpoint of its artificiality. The dream, on this score, may be considered the semblance of the simulacrum, wherein truth is not opposed to deception because the appearance of truthfulness cannot be determined independently of the truthfulness of appearance.

On Wings of Moonlight - a phrase taken from one of the poems - illuminates the poetic and philosophic kinship between Wolfson, Franz Rosenzweig, one of his influences since graduate school, and Paul Celan. Displaying a deep knowledge of the literary, philosophical, Jewish, and feminist traditions informing Wolfson's academic work, Galli argues that his prose cannot be fully appreciated without consideration of its poetic dimensions.

The Texture of the Divine explores the central role of the imagination in the shared symbolic worlds of medieval Islam and Judaism. Aaron W. Hughes looks closely at three interrelated texts known as the Hayy ibn Yaqzan cycle (dating roughly from 1000--1200 CE) to reveal the interconnections not only between Muslims and Jews, but also between philosophy, mysticism, and literature. Each of the texts is an initiatory tale, recounting a journey through the ascending layers of the universe. These narratives culminate in the imaginative apprehension of God, in which the traveler gazes into the divine presence. The tales are beautiful and poetic literary works as well as probing philosophical treatises on how the individual can know the unknowable. In this groundbreaking work, Hughes reveals the literary, initiatory, ritualistic, and mystical dimensions of medieval Neoplatonism. The Texture of the Divine also includes the first complete English translation of Abraham Ibn Ezra's Hay ben Meqitz.