Ḥeleḳ 1. Hilkhot kibud av ṿa-em u-khevod rabo -- ḥeleḳ 2. Hilkhot lashon ha-raʻ u-rekhilut ʻal ha-Ḥ. ḥ. ṿe-ʻinyene emet ṿe-sheḳer.

Ḥeleḳ 1. Hilkhot kibud av ṿa-em u-khevod rabo -- ḥeleḳ 2. Hilkhot lashon ha-raʻ u-rekhilut ʻal ha-Ḥ. ḥ. ṿe-ʻinyene emet ṿe-sheḳer.

ʻInyene Orah ḥayim : ʻavodat H., tefilah, berakhot, Shabat, Rosh ha-shanah, Yom ha-kipurim, ḳiyum mitsṿot, teshuvah, ḥinukh -- ʻInyene Yoreh deʻah : Torah, tsedaḳah, ʻinyanim shonim, midot, biṭaḥon, yom huledet -- Heʻarot ʻal Talmud Yerushalmi -- Hosafot le-Sefer Derekh ʻavodato, Shaʻar ha-biṭaḥon -- Ḳunṭres Tsidḳat Ḥanah : ḥidushim ṿe-liḳuṭim ʻal hilkhot ḥag he-Pesaḥ ṿe-Hagadah shel Pesaḥ (Mahadurah 3) -- Ḳunṭres Tsemaḥ Yiśraʼel : ʻal ʻinyene minhagim (Mahadurah 2) -- Ḳunt̥res Ḥesed ṿe-emunah : heʻarot ṿe-ḥidushim ʻal Sefer ḥasidim (Mahadurah (...) 2) -- Ḳunṭres Mile di-hespeda : ʻal zeḳeni ha-r. he-ḥ. Rabi Shelomoh Ḥayim Haizler zatsal. (shrink)

[1] Sefer Orḥot Ḥayim leha-Rosh ʻim beʼur "ha-Shem orḥotenu" ... 2. Ḳunṭres Be-Shaʻar ha-melekh ʻal haḳdamat ha-Rambam, kolel tsiyunim u-meḳorim u-veʼurim be-divre ha-Rambam ṿeha-Raʼabad ... 3. Ḳunṭres Tashlum yefeh ʻenayim ʻal Seder Zeraʻim u-Ṭehorot, ʻeduyot, Tamid, Midot, Ḳenim ṿe-ʻod ṿe-hu tsiyunim ʻal mas. elu mi-Yerushalmi u-midrashim ... 4. Ḳunṭres Marʼot maḳom, ṿe-hu tsiyunim ʻal ha-meḳomot she-Rashi ṿe-Tos. meviʼim mirdrash o Yerushalmi ṿe-Tosefta ṿe-khu. ṿe-lo tsuyan meḳoro ... 5. Ḳunṭres Ṭeʻama de-ḳara, ṿe-hu ḳetsat ḥidushim ʻal ha-Torah ṿe-ʻal Neviʼim u-Khetuvim -- ḥeleḳ (...) 3. Heʻarot ʻal seder ha-Shas (ṿe-kholel gam ezeh ḳunṭresim). (shrink)

[1] Lev Yehudah ḥeleḳ 1, u-vo ḥidushim u-veʼurim be-ʻinyanim shonim. Lev Yehudah ḥeleḳ 2, u-vo heʻarot ṿe-heʼarot ḳetsarot. Boʼu ḥeshbon, u-vo heʻarot be-ḥeshbonot u-midot Ḥazal -- [2] Ḳunṭres Boʼu ḥeshbon ḥeleḳ 2.

Vol. [1]. De Charles S. Peirce à Walter Benjamin -- v. [2]. De Henri de Lubas à Eberhard Jüngel.

ḥelek 1. kolel beʼurim ʻal pereḳ ha-haḳdamah le-Shaʻar ha-yiḥud ṿeha-emunah. "Ḥanokh la-naʻar" --.

Roland Végső opens up a new debate in favour of abandoning the very idea of the world in both philosophy and politics. Opening with a reconsideration of the Heideggerian critique of worldlessness, he traces the overlooked history of worldlessness in Hannah Arendt, Sigmund Freud, Jacques Lacan, Jacques Derrida and Alain Badiou.

De Berlioz à Gérard Grisey, de Nietzsche à Jankélévitch, ce livre aborde différentes facettes de la création musicale d'un point de vue philosophique et tente de montrer que la musique sécrète un potentiel de transformation précieux à bien des égards: transformation du réel tel qu'il existe, transformation du monde sonore, transformation de l'écoute. Écrire de la musique, l'interpréter, l'écouter, l'apprécier constituent les différents chapitres de cet ouvrage. S'y insèrent des entretiens avec des acteurs de la scène contemporaine: les compositeurs Philippe (...) Leroux, Jean-Luc Hervé, Mauro Lanza, la chanteuse Donatienne Michel-Dansac, le violoncelliste Pierre Morlet et le percussionniste Jean Geoffroy; ces entretiens poursuivent la réflexion qui les précède et la rendent ainsi plus conrète. Au fil des pages, il apparaît qu'une oeuvre musicale, inscrite dans la durée, permet de s'émanciper de l'hégémonie d'une instantanéité et d'une ubiquité virtuelle propres à notre époque. Pour paraphraser Luigi Nono, réveiller l'oreille, c'est en somme réveiller l'homme"--Back cover. (shrink)

kerekh 1. Av-Hanaḳah -- kerekh 2. Haskamah mi-daʻat-Ṭeḥol -- kerekh 3. Ṭerefah-Milah -- kerekh 4. Mimun ha-refuʼah-Sodiyut refuʼit -- kerekh 5. Sikun ʻatsmi-Ḳaṭan -- kerekh 6. Reʼot-Torat ha-musar.

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work came (...) to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

Liḳuṭe amarim, Shaʻar ha-yiḥud ṿeha-emunah, Igeret ha-teshuvah, Igeret ha-ḳodesh (simanim 1-20).