Lamentations Rabbah Proem 24, a late ancient rabbinic midrash, is in many ways a unique text within the entire rabbinic corpus. It presents an extraordinary array of characters (including Abraham, Moses, the Torah, and even the alphabet) who are called upon to placate God, but fail. As their quest proves inconclusive, the biblical Rachel jumps into the fray to tell her story: how out of sisterly compassion she allowed Leah to take her own place in the conjugal bed on “her” wedding night. Disclosing to her sister the secretive “signs” she had shared with Jacob, Rachel crawled under the nuptial bed to respond to Jacob whenever he spoke. This scandalous autobiography transforms an apparent instance of illicit sex, the ideal material for theatrical stage mimes, into an act of martyrdom and sublime compassion. This article argues that the performance culture of the late ancient Mediterranean world provides the key for assessing this text’s originality. We begin with an analysis of the text, drawing attention to its theatrical qualities and its relationships with contemporary visual imagery (mosaics) and texts from outside the rabbinic milieu (Christian Apocrypha). We then examine the casting of midrashic Rachel as a response to both the mimic adulteress and the Christian martyr. Finally, we consider rabbinic familiarity with mime, particularly with its usefulness as a social mediator and agent of collective catharsis. It is precisely these aspects of mimic performance, we argue, that Rachel’s vignette appropriates in this fascinating rabbinic text.

In 1 Pet 4:11a, those who exercise χαρίσματα involving speech acts are instructed to carry out their tasks ὡσ λόγια θεοῦ. Two interpretations of this phrase have gained prominence within Petrine scholarship. Some claim that Scripture is being referenced to establish a standard for regulating the use of communicative gifts in the church. Others contend that the verse sets up a hypothetical comparison designed to emphasize the appropriate manner in which the spoken word should be performed. The problem is that both of these positions have left crucial questions unattended. The purpose of this study is to provide a close examination of the three issues that most significantly impact the interpretation of 1 Pet 4:11a: (1) the meaning of λόγια; (2) the reconstruction of verbal elision; and (3) the Petrine author’s view of divine revelation through human mediation. In the end, I suggest that the verse is intended to convey a direct correspondence between the comparative image (i.e., one who delivers oracles from God) and the ministry of those who exercised speaking gifts within the Anatolian congregations. That is, when Christians rendered service to the community through various forms of verbal communication, they were understood to be dispensing divine revelation.

This is a first-time presentation of the initial section of the Toledot Yeshu (TY) narrative describing the birth and early life of Jesus in Judeo-Arabic, a text with important implications for current research on TY. First, the origin of the birth narrative has been debated in recent scholarship on the Hebrew versions of TY. The existence of this lengthy Judeo-Arabic birth narrative, preserved in two manuscripts belonging to the Russian National Library, as well as the identification of other, earlier Judeo-Arabic manuscript fragments that include the TY birth narrative, demonstrates that the birth narrative formed part of TY significantly earlier than has been previously suggested. Second, the narrative preserved in the Russian manuscripts also demonstrates the relevance of the Judeo-Arabic versions of TY for the understanding of the development of this protean work. Examination of their textual tradition reveals interesting connections with particular Hebrew versions of TY from Europe and can shed light on the question of how the work moved between East and West. Finally, this Judeo-Arabic version of TY is significant in its demonstration of a clever adaptation to its linguistic and cultural surroundings. It incorporates a lengthy introduction—the only one currently known in all of the TY literature—which is a literary tour de force employing contemporaneous Arabic style together with a well-known rabbinic dictum, thereby situating Toledot Yeshu simultaneously in its Islamicate milieu and in Jewish textual and even ritual tradition. The discussion concludes with a transcription and translation of the birth narrative as preserved in these two Russian manuscripts.

This article investigates Maimonides’s ethos of disclosing “secrets” and explores its Islamic origins, focusing on sources neglected by earlier scholarship concerning the Guide of the Perplexed. I turn from the prevalent method by which the Guide has been studied for decades, namely, as a work at the core of which lie strategies and an ethos of concealment. In lieu of the conventional method, I go in a very different direction by inquiring into the modes that Maimonides used in fashioning his Guide as a work that involves a self-proclaimed exceptional act of revelation of secrets and a breach of the boundaries of concealment. The resulting textual investigation demonstrates that clusters of motifs presented in these sources, as well as structures of arguments, were retained in their cultural migration. This exploration allows me to illuminate new aspects of the question of the genre of Maimonides’ Guide, its sources, and its author’s intertextual art of writing.

The relation between the everyday and the religious cult has traditionally been regarded as one of opposition, like the profane and the sacred. Since such a conception comes with a high price—rendering the cult esoteric and the everyday bereft of religious significance—this article proposes a more complex dynamic between the two. Drawing on Dewey’s idea of aesthetic experience as an intensification of ordinary experience, the article argues that a similar structure should be applied to the cult, or, more specifically, cultic play. In cultic play, there is admittedly discontinuity from ordinary life, owing to play’s distinct settings and rules. Nevertheless, such discontinuity reveals a deeper continuity, in which ordinary experience becomes present in new, sacred ways. In a dialectical manner, cultic play draws on ordinary experience, discloses and intensifies it through the context of play, and thus points forward to possibilities for inhabiting the everyday in richer ways.