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Journal articles on the topic 'Jews Jews in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Debby, Nirit Ben-Aryeh. "Jews in Art and Society." Ars Judaica: The Bar Ilan Journal of Jewish Art 14 (May 2018): 131–33. http://dx.doi.org/10.3828/aj.2018.14.10.

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2

Lurie, Yuval. "Jews as a Metaphysical Species." Philosophy 64, no. 249 (1989): 323–47. http://dx.doi.org/10.1017/s0031819100044697.

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There are certain remarks in Culture and Value in which Wittgenstein writes about Jews and about what he describes as their ‘Jewish mind’. In these remarks he appears to be trying to make a distinction between two different spiritual forces which operate in Western culture and which give rise to two different types of artists and works of art. On one side of the divide are Jews and works of art imbued with Jewish spirit. On the other side are men of culture and works of art which exhibit a non-Jewish spirit. Among the various remarks made in this context, he offers the following thoughts about

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3

Qambarov, Abdumutal Ahadjonovich, and Mavluda Mamasodikovna Najmetdinova. "The Role Of Bukhara Jews In The Development Of Natiaonal Makom Art." American Journal of Social Science and Education Innovations 03, no. 04 (2021): 747–53. http://dx.doi.org/10.37547/tajssei/volume03issue04-120.

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This article analyzes from a scientific and philosophical point of view that the Jews of Bukhara, along with the Uzbek makoms, have made a worthy contribution to the development of Shashmakom to this day through the work of masters of their profession, hafiz, musicians and composers.

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4

Silverman, Lisa. "Leopoldstadt, Judenplatz, and Beyond." East Central Europe 42, no. 2-3 (2015): 249–67. http://dx.doi.org/10.1163/18763308-04202004.

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Discussions of Jews’ relationship to Vienna before 1938 tend to focus on their consumption of Viennese culture, including music, art, literature, and intellectual innovation. However, understanding place as a formative aspect of material culture can help us see another crucial aspect of how Jews—individually and collectively—came to terms with their place in the city. This essay examines the significance of place for Jews in Vienna through a variety of primary sources related to the Judenplatz, the square which is today the city’s premier site of Jewish memory, and Leopoldstadt, the district t

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5

Debby, Nirit Ben-Aryeh. "Art and Sermons: Dominicans and the Jews in Florence’s Santa Maria Novella." Church History and Religious Culture 92, no. 2-3 (2012): 171–200. http://dx.doi.org/10.1163/18712428-09220001.

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This paper analyzes perceptions of the Jews by the Dominican friars in latemedieval Florence and focuses on the encounter between the Christian and Jewish worlds as manifested in Santa Maria Novella church in the oral and visual traditions. The intention is to examine the representations of Jews in a particular context, that of an Italian urban society in the late fourteenth century, especially in the context of mendicant activity, by studying both preaching and art in that context.The article shows the similarities and differences between the visual and the verbal in relation to the different

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6

Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.

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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience,

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7

Rich, Adrienne. "1948: Jews." Frontiers: A Journal of Women Studies 12, no. 2 (1991): 141. http://dx.doi.org/10.2307/3346855.

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8

Joselit, Jenna Weissman. "Bezalel Comes to Town: American Jews and Art." Jewish Studies Quarterly 11, no. 4 (2004): 354. http://dx.doi.org/10.1628/094457004783500536.

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9

Batsiayev, Vasil F. "Theatrical arts of Jews in Belarus." Humanitarian: actual problems of the humanities and education 21, no. 1 (2021): 31–47. http://dx.doi.org/10.15507/2078-9823.053.021.202101.031-047.

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Introduction. Spiritual culture occupies an important place in the life of the Jews in Belarus. Its important component is art, including theatrical. In Belarus since the 16th century there are many different Jewish theatrical associations, but they have not been sufficiently studied to date. There are no special works on this problem in the ethnological literature. At the same time, the analysis of the process of their creation, repertoire and activity, determination of forms and structure is of great scientific interest and is of great practical importance. Research Methods. The structural m

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10

Metzger, Mary Janell. "“Now by My Hood, a Gentle and No Jew”: Jessica, The Merchant of Venice, and the Discourse of Early Modern English Identity." PMLA/Publications of the Modern Language Association of America 113, no. 1 (1998): 52–63. http://dx.doi.org/10.2307/463408.

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Recent readings of Shakespeare's The Merchant of Venice, which have been concerned primarily with the play's representation of difference, especially that of gender, religion, or race, often leave Jessica out of their analyses. Yet Jessica, as both a Jew and a willing Christian convert, enables the play to resolve the problem posed by the equations of white Christianity and national identity in the emerging discourse of English imperialism: how to render the Jew's difference as a difference of nature and as a difference of faith involving the act of will implicit in Christian baptism? Only by

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11

Noy, Ido. "Love Conquers All: The Erfurt Girdle as a Source for Understanding Medieval Jewish Love and Romance." IMAGES 11, no. 1 (2018): 227–46. http://dx.doi.org/10.1163/18718000-12340088.

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AbstractThe discovery of pawned objects in treasure troves attributed to Jews enables investigation of the use and understanding of these objects by Jews, especially regarding those of a more secular nature, i.e. objects that have little relationship to Jewish or Christian liturgy and that lack explicit Jewish or Christian religious iconography or inscriptions. One of these pawned objects is a girdle, which was found in a Jewish context in Erfurt. Through examining this girdle in the context of similar imagery in Jewish art, we see that Jews were not only exposed to such girdles but also were

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12

Hońdo, Leszek. "The oldest tombstones in the Jewish cemetery in Tarnow." Humanities and Cultural Studies 2/2021, no. 1 (2021): 1–15. http://dx.doi.org/10.5604/01.3001.0014.7383.

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The Jewish cemetery in Tarnów dates from the 16th century. It has an extremely valuable group of tombstones from the 17th, 18th and early 19th century. They are monuments of sepulchral art as well as cultural testaments — not only of Tarnovian Jews, but generally of Polish Jews. The article presents the oldest tombstones in the cemetery. The preserved tombstones originate only from the second half of the 17th century.

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13

Blue, Lionel. "Jews and Arabs." European Judaism 51, no. 1 (2018): 104–7. http://dx.doi.org/10.3167/ej.2018.510114.

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Abstract In the recent past all Jewish life has been so overshadowed by the tragedy of the holocaust and the hope of Israel that we could only cry or act. Now a new time has come. Israel has solved every problem except the Arab problem and that is the only important problem now worth solving. A dialogue with the Islamic world is long overdue. We were hounded out of Europe, and we were one of the factors which pushed or helped to push another people out of Palestine. This was a sin – whether knowingly or unknowingly. Israel and Arabs are political entities. Behind them stand two other and great

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14

Dox, Donnalee. "Medieval Drama as Documentation: “Real Presence” in the Croxton Conversion of Ser Jonathas the Jewe by the Myracle of the Blissed Sacrament." Theatre Survey 38, no. 1 (1997): 97–115. http://dx.doi.org/10.1017/s004055740000185x.

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In the fifteenth-century East Anglian play, The Conversion of Ser Jonathas the Jewe by the Myracle of the Blissed Sacrament, five Jews desecrate a host to challenge the Christian doctrine of transubstantiation. In the play's image of Jewish characters, fifteenth-century English Christianity constructed an ethnic, religious, and cultural alterity. A Jewish merchant, Jonathas, bribes a Christian merchant, Aristorius, to steal a consecrated host from a local church. Five Jewish characters then stab the host, nail it to a pillar, boil it, and bake it in an oven over a fire. In this last trial, the

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15

Amishai-Maisels, Ziva. "Jews in American Art: Social Concern vs. Anti-Semitism." Ars Judaica: The Bar Ilan Journal of Jewish Art 14 (May 2018): 141–45. http://dx.doi.org/10.3828/aj.2018.14.10c.

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16

Wharton, Annabel Jane. "Jewish Art, Jewish art." IMAGES 1, no. 1 (2007): 29–35. http://dx.doi.org/10.1163/187180007782347584.

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AbstractAs the Jews have always produced art, the question arises, why is the notion of a Jewish Art so problematic? No effort is made in this paper to review or summarize the arguments for or against "Jewish Art." Rather, it attempts a modest shift in the terms of the debate. The essay addresses the question by considering the historiography of Jewish art in relation to both the End-of-Art debates and the Holocaust industry.This paper offers a provisional answer to the question: Why has Jewish art never managed to become Jewish Art? The End of Art debate conditions the discussion; the institu

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17

Greenberg, Reesa. "Restitution Exhibitions: Issues of Ethnic Identity and Art." Intermédialités, no. 15 (October 13, 2010): 105–17. http://dx.doi.org/10.7202/044677ar.

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This essay looks at post 2005 restitution exhibitions of art believed or known to be owned by Jews stolen during National Socialist times in order to examine complex questions and layered relationships involving private property, public institutions and museum display.

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18

Berger, Pamela. "Jewish-Muslim Veneration at Pilgrimage Places in the Holy Land." Religion and the Arts 15, no. 1-2 (2011): 1–60. http://dx.doi.org/10.1163/156852911x547466.

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AbstractFor millennia human communities have designated certain sites as sacred and nowhere more so than in the Holy Land. The Bible records that Canaanites worshipped in “high places,” and the prophets railed against the Israelites for continuing the practice. Jesus castigated the Pharisees for adorning the tombs of the prophets. When Jews were expelled from Jerusalem, those who remained on the land did not abandon their devotion to the holy sites. When the Muslims arrived they continued the practice of visiting the tombs of those figures mentioned in both the Bible and the Quran. Throughout

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19

Sabar, Shalom. "The Preservation and Continuation of Sephardi Art in Morocco." European Judaism 52, no. 2 (2019): 59–81. http://dx.doi.org/10.3167/ej.2019.520206.

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While it is widely known that the Jews of medieval Spain carried with them their language, literature and other traditions to the countries in which they settled following the Expulsion in 1492, little research has been conducted on the preservation of their material culture and the visual arts. In this article, these aspects are examined vis-à-vis the Judaic artistic production and visual realm of the Sephardi Jews in Morocco, who adhered to these traditions perhaps more staunchly than any other Sephardi community in modern times. The materials are divided into several categories which serve

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20

Elukin, Jonathan. "Judaism: From Heresy to Pharisee in Early Medieval Christian Literature." Traditio 57 (2002): 49–66. http://dx.doi.org/10.1017/s0362152900002695.

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During the Middle Ages, Christians largely accommodated themselves to the small number of Jews who lived amongst them. Augustine (354–430) explained that God had punished the Jews after their rejection of Jesus by destroying the Temple and sending them into exile. Their survival was divinely guaranteed, however, because the presence of the Jews, Augustine believed, testified to the authenticity of Scripture and the fulfillment of the prophecies upon which Christianity built its faith. The Jews themselves, of course, argued that God had never truly rejected his chosen people. By claiming the Je

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21

Alwuraafi, E. M. "PERSECUTION AND longing OF YEMENITE JEWS IN THE HANDSOME JEW." Trames. Journal of the Humanities and Social Sciences 25, no. 1 (2021): 49. http://dx.doi.org/10.3176/tr.2021.1.04.

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22

Kontje, Todd. "Thomas Mann's Wälsungenblut: The Married Artist and the “Jewish Question”." PMLA/Publications of the Modern Language Association of America 123, no. 1 (2008): 109–24. http://dx.doi.org/10.1632/pmla.2008.123.1.109.

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This essay examines Thomas Mann's response to the “Jewish question” by focusing on a phase when he struggled to come to terms in his art with the repression of his homosexual desires and with his marriage to the daughter of assimilated Jews. Mann's attitude toward the Jews is primarily hostile in the controversial novella Wälsungenblut (The Blood of the Walsungs), in which he projects anti-Semitic stereotypes onto distorted images of his wife and new in-laws. In the novel Königliche Hoheit (Royal Highness), Mann produces a more sympathetic portrait of his wife by giving her an ethnic backgroun

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23

Hartau, Johannes. "Bosch and the Jews." Anales del Instituto de Investigaciones Estéticas 27, no. 86 (2012): 29. http://dx.doi.org/10.22201/iie.18703062e.2005.86.2188.

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El Nuevo tríptico de Hieronymus Bosch pide una revisión en su interpretación: representa escenas de sensualidad y de cupido, es decir, de esferas con las cuales los judíos estaban especialmente vinculados, en su mayoría de una forma despreciativa. El caminante (Rotterdam), en el recuadro externo, transmite una imagen de trueque que se consideraba típica del judío errante, así como la imagen del peregrino de la vida, de pie entre vita mundi y el castigo eterno. La imagen correspondiente del Nuevo tríptico, el Carro de heno en Madrid, presenta a un buhonero que aparece en un mundo que existe sól

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24

Borchard, Kurt. "An Experiment in Second Person Writing: Notes on a Partial Jewish Identity." Cultural Studies ↔ Critical Methodologies 18, no. 3 (2016): 181–89. http://dx.doi.org/10.1177/1532708616684868.

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Jewish people are a unique minority group identified through a religious belief system, a culture, and supposed biological traits. I describe myself here as a partial Jew, indicating my unique status parallels the identities of mixed race individuals who feel some other minority group members see them as like themselves but marginally or partially so, at times creating a double marginalization. Through my marginal identity, I encounter prejudice and discrimination from non-Jews and Jews alike. Taking cues from Claudia Rankine, I write examples of everyday identification, prejudice, and discrim

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25

AvcioGlu, N. "Review: Saracens, Demons and Jews: making Monsters in Medieval Art." Journal of Semitic Studies 50, no. 1 (2005): 236–38. http://dx.doi.org/10.1093/jss/fgi029.

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26

Davis, James. "Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace." European Legacy 21, no. 5-6 (2016): 600–601. http://dx.doi.org/10.1080/10848770.2016.1169595.

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27

Cahn, Walter. "Saracens, Demons and Jews: Making Monsters in Medieval Art (review)." Jewish Quarterly Review 96, no. 3 (2006): 447–49. http://dx.doi.org/10.1353/jqr.2006.0024.

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28

Chametzky, Peter. "Turks, Jews, and Other Germans in Contemporary Art: An Introduction." Massachusetts Review 60, no. 4 (2019): 655–81. http://dx.doi.org/10.1353/mar.2019.0098.

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29

Schur, Yechiel Y. "Cultural Exchange: Jews, Christians and Art in the Medieval Marketplace." Social History 39, no. 4 (2014): 573–74. http://dx.doi.org/10.1080/03071022.2014.952548.

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30

Kelenhegyi, Andor. "Cultural exchange: Jews, Christians and art in the medieval marketplace." European Review of History: Revue européenne d'histoire 21, no. 3 (2014): 428–29. http://dx.doi.org/10.1080/13507486.2014.921525.

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31

Stern, Karen B. "Jews, Ships, and Death: A Consideration of Nautical Images in Jewish Mortuary Contexts." IMAGES 11, no. 1 (2018): 189–209. http://dx.doi.org/10.1163/18718000-12340087.

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AbstractRecurrences of ancient ship carvings and drawings in Jewish burial caves are curious phenomena, which rarely capture the attention of scholars. Few narrative Jewish texts, which might otherwise illuminate this pattern, explicitly describe any link between ships and death. The ubiquity of nautical images in graffiti and monumental art throughout the ancient Mediterranean, moreover, obscures their particular significance in any mortuary context, whether associated with Jews or their neighbors. This article suggests that consistent appearances of ship imagery in Jewish burial contexts thr

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32

Jason, Heda, Yitzhak Avishur, Erich Brauer, and Raphael Patai. "The Jews of Kurdistan." Asian Folklore Studies 53, no. 2 (1994): 384. http://dx.doi.org/10.2307/1178671.

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33

Kaplan, M. Lindsay, and James Shapiro. "Shakespeare and the Jews." Shakespeare Quarterly 48, no. 1 (1997): 91. http://dx.doi.org/10.2307/2871404.

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34

Clark, Laurie Beth. "What the Jews Do." TDR/The Drama Review 55, no. 3 (2011): 144–52. http://dx.doi.org/10.1162/dram_a_00104.

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Jewishness is neither a set of beliefs nor the participation in a community, but rather recognition of one's self in response to a force in the world. While we are “always already Jewish,” waiting to be hailed, our sense of identity remains phantasmic. It is this sense of longing, rather than any kind of belonging, that may be most helpful in elaborating an ethical diasporic identity.

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35

Hein-Dunne, Marleen. "Jews in the Cathedral." German Quarterly 74, no. 1 (2001): 80. http://dx.doi.org/10.2307/3072817.

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36

von Ehrenkrook, Jason. "Sculpture, Space and the Poetics of Idolatry in Josephus' Bellum Judaicum." Journal for the Study of Judaism 39, no. 2 (2008): 170–91. http://dx.doi.org/10.1163/157006308x252795.

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AbstractJosephus' writings depict a rather tumultuous relationship between Jews and figurative art, especially sculpture. When taken at face value, this material seems to indicate that Jews during the Second Temple period interpreted the second commandment as a prohibition against any form of figural representation, regardless of context or function. Using his Bellum Judaicum as a test case, I aim to complicate this picture by shifting attention away from the referential value of these so-called iconoclastic narratives to their rhetorical function, i.e. to the way in which these narratives are

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37

Rose, Linda C., and Bernard Lewis. "The Jews of Islam." Journal of the American Oriental Society 106, no. 4 (1986): 823. http://dx.doi.org/10.2307/603552.

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38

Paul Sacks, Michael. "Privilege and Prejudice: The Occupations of Jews in Russia in 1989." Slavic Review 57, no. 2 (1998): 247–66. http://dx.doi.org/10.2307/2501850.

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Published census data on Jews have been very scarce, but these data and other sources leave no doubt that in comparison with other groups Soviet Jews were very distinctive in terms of such characteristics as their urban concentration and their educational and professional achievement. This level of achievement occurred despite popular and official anti-Semitism of varying intensity. With the recent release of new data from the 1989 census, a more precise understanding of the opportunities available to Jews in Soviet Russia is now possible. These data show the number of men and women by major e

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39

Raffles, H. "Jews, Lice, and History." Public Culture 19, no. 3 (2007): 521–66. http://dx.doi.org/10.1215/08992363-2007-008.

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40

Horowitz, Jacob, Mordechai Klein, and Shaul Sukenik. "Cryoglobulinemia and hepatitis B markers in north African Jews with Raynaud's disease." Arthritis & Rheumatism 29, no. 8 (1986): 1026–28. http://dx.doi.org/10.1002/art.1780290813.

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41

Markish (book author), Shimon, Anthony Olcott (book translator), and Steven Rowan (review author). "Erasmus and the Jews." Renaissance and Reformation 28, no. 3 (2009): 85–87. http://dx.doi.org/10.33137/rr.v28i3.11674.

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42

Kalmar, Ivan. "Jews on the Train." Journal of Popular Culture 21, no. 1 (1987): 139–54. http://dx.doi.org/10.1111/j.0022-3840.1987.00139.x.

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43

Mendelsohn, Amitai. "Raida Adon: Strangeness, a Conversation between Raida Adon and Dr. Amitai Mendelsohn, Israel Museum’s Senior Curator for Israeli Art." Arts 9, no. 4 (2020): 130. http://dx.doi.org/10.3390/arts9040130.

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44

Fischman. "Using Yiddish: Language Ideologies, Verbal Art, and Identity among Argentine Jews." Journal of Folklore Research 48, no. 1 (2011): 37. http://dx.doi.org/10.2979/jfolkrese.48.1.37.

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45

Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.

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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Pa

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46

RIGÓ, MÁTÉ. "Ordinary women and men: superintendents and Jews in the Budapest yellow-star houses in 1944–1945." Urban History 40, no. 1 (2012): 71–91. http://dx.doi.org/10.1017/s0963926812000648.

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ABSTRACT:The present article investigates how everyday people shaped the outcome of discriminatory measures during the Nazi persecution of Budapest Jews, primarily by looking into micro-level social interactions between superintendents and confined Jews during ghettoization in the Hungarian capital (1944). I argue that besides a multiplicity of relevant political, social and military reasons determining the fate of Budapest Jews, the urban specificity of the Holocaust also needs to be taken into account, given that location and access to urban space enabled different personal strategies to con

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47

Schraub, David. "White Jews: An Intersectional Approach." AJS Review 43, no. 2 (2019): 379–407. http://dx.doi.org/10.1017/s0364009419000461.

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“Intersectionality,” a concept coined and developed by legal scholar Kimberlé Crenshaw, examines how our various identities change in meaning and valence when placed in dynamic relation with one another. Instead of exploring identity traits like “race,” “gender,” “religion,” and so on in isolation, an intersectional approach asks what these various characteristics “do” to one another in combination. I suggest that an intersectional approach—asking “what does Whiteness do to Jewishness?”—can help illuminate elements of the Jewish experience that would otherwise remain obscure. The core claim is

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48

KLORMAN, BAT-ZION ERAQI. "Yemen, Aden and Ethiopia: Jewish Emigration and Italian Colonialism." Journal of the Royal Asiatic Society 19, no. 4 (2009): 415–26. http://dx.doi.org/10.1017/s1356186309990034.

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AbstractAfter Aden came under British rule (1839) its Jewish community was reinforced by Jewish immigrants from inland Yemen and also from other Middle Eastern countries. Some of the Adeni Jews, most of them British subjects, entered the Indian-British commercial network and expanded it to East Africa, mainly to Ethiopia, founding commercial strongholds there. From the late nineteenth century, Jews coming from Yemen joined the existing Adeni settlements.This paper compares the reasons for the emigration to Ethiopia of Adeni Jews and Yemeni Jews, and their economic and social status under Itali

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49

Schonfield, Jeremy. "Kaddish for Gaza." European Judaism 53, no. 1 (2020): 130–41. http://dx.doi.org/10.3167/ej.2020.530116.

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Controversy over the recital by young Jews in Parliament Square during May 2018 of Mourners’ Kaddish for Palestinians shot while trying to break through the border reflected a misunderstanding about the different ways Kaddish is used in Traditional and Progressive contexts. Mourners’ Kaddish is recited in Traditional settings to commemorate deceased relatives and more rarely other Jews. In Progressive circles it is read communally in unison, very occasionally also for non-Jews. This article questions the appropriateness of reciting Mourners’ Kaddish for the Gaza victims, none of whom were Jewi

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50

Waldinger, Albert. "A Prophecy for the Jews." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 4 (1998): 316–35. http://dx.doi.org/10.1075/babel.44.4.04wal.

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Abstract The above article deals with the Yiddish translation of the book of Isaiah by the Yiddish poet and 'nationally minded' Biblical scholar Yehoash (Solomon Bloomgarden) and the extremely important, even revolutionary rendering of Isaiah into German by Martin Buber (with some help from Franz Rosenzweig). Scrupulous attention has been given to the relation of both translations to their Hebrew original and to the elucidation effected by the act of translation. In addition, both are discussed in the context of their respective languages, both diachronically and synchronically, their times, a

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