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Ce:YIG thin films deposited on the silicon substrates were fabricated and their crystalline quality was investigated. In addition, a silicon waveguide Mach-Zehnder interferometer having a crystallized Ce:YIG cladding was fabricated. The transmitted wavelength characteristic of the device was observed to be different depending on the magnetostatic field direction.

This article is based on the edition and study of three lengthy compositions for the Seventh Day of Passover (Wayyosha – Exod. 14:30). These compositions are outstanding in length and show parallel characteristics in structure and content. Recent publications of these three Sedarim offer introductions to structural characteristics and describe ways of inserting all the opening words from Canticles, Exodus 15 and Judges 5. Now that we have these poems at our disposal, we address questions about the place and time of their emergence and use. We analyse these compositions within one context, and discover interesting fusions of motifs and themes, which are at times taken from rabbinic sources or otherwise invented by the composers themselves. Three text samples from the same two stanzas demonstrate the various levels of connection. We believe that local or regional custom was involved in writing this poetry within a restricted period of time.

The objective of the present study is to show that Saadia Gaon had considerable interest in the lexical values of poetic words and terms involved in the composition of liturgical hymns. The closing section of his polemical piece against the Karaites entitled Essa Meshali (let me take up my discourse') is Saadia's attempt to present a poetic vocabulary with a great variety of forms and meanings. The poem reflects Saadia's interest in the relationship between Hebrew lexicography and poetics, and demonstrates his awareness of the problems existing in Jewish literary circles with regard to the use of the Hebrew language for literary purposes. This specific part of Essa Meshali is presented here for the first time with full vocalization, English translation and explicatory notes.

This volume presents fifteen essays in honor of Joseph Yahalom on a variety of subjects, mainly in the field of Hebrew (liturgical) poetry, poetics, and literature from the early Byzantine period to the Middle Ages.

It is most conspicuous in the first section of the Qedushta composition, which contains three individual poetic units in accordance with the liturgical parts of the Qedushah prayer. In the very first poem of the present Qedushta , Yannai focuses on three central conceptions-listening, oneness, and love-the last of which he continues in the second poem with an exclusive focus on the theme of love between God and his people. The episode of the Sinai clearly centers on the ear, and Israel's creed focuses on listening and hearing. The second section of the work is dedicated to the second day, on which the firmament, the angels, and hell are created, in accordance with rabbinic sources. There is hope for salvation, the establishment and recognition of a constitutional state in which free individuals can welcome Israel as brothers. Because in such a state, Israel's liturgical poetry also becomes the poetry of humankind. Keywords: angels; hell; Israel; liturgical; Piyyut; Qedushah ; Qedushta ; rabbinic; Sinai; Yannai

L'article est consacre a la vie et aux ecrits du poete Shemuel ben Hosha'na, shelishi de l'academie (piyyut) d'Eretz Israel au XIeme siecle, replacee dans le contexte de son temps. L'A. etudie les caracteristiques stylistiques de sa poesie, en comparant notamment son oeuvre aux poetes espagnols.