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Shahar Marnin-Distelfeld

. It is this key characteristic that dictated this article’s corpus of research. Implementing an interdisciplinary methodology and drawing on theories from the field of cultural studies, this article integrates an analysis of visual images and artwork with a qualitative approach based on interviews

Maya Balakirsky Katz and Steven Fine

Olin and Catherine Soussloff, began as a product of this project in North America. The success of Images is the success of the movement that Peg incubated and that she continues to nurture. Peg’s artistic, scholarly, and curatorial projects have focused on a variety of methodological issues, ranging

Ilia Rodov

iconographic methodology that is embraced here is at odds with Shafer’s stated intention of following the approaches of reception studies and semiotics, which reject the belief in the eternality of symbols. 18 The Sha‘ar ha-shamayim in Cairo exemplifies European historicist reflections on the return of

Katrin Kogman-Appel

–135). 6 Several sections discuss to what extent the images in the Sarajevo Haggadah represent realia. This is the most original and the most successful part of this volume. Sabar opens with a cautious statement about the methodological difficulties associated with seeking elements of daily life in

Joey Orr

book, Men Like That , John Howard makes the case for using stories and hearsay, since they are the only way particular social practices and populations can be known by us at all. 17 Hearsay, therefore, enters the world of historical methodology by recuperating what would never be legible without it

Tali Berner

. The second consists of visual depictions of the Jews. The interpretation of both sources presents scholars with several methodological difficulties. Sumptuary laws, by highlighting the forbidden, provide little information about everyday clothing and those articles of clothing that were actually

Catherine M. Soussloff

symbolism inherent in material artefacts, including methodologies associated with these interpretations, such as iconography; and the history of genres—portraiture, landscape, still-life, the nude—which can determine interpretation apart from or in conjunction with other approaches to the work of art. As we

Karen B. Stern

their representation and only speculates about corresponding ranges of mortuary beliefs and activities. Methodological problems associated with the isolation, study, and interpretations of particular genres of images remain manifold. One such challenge includes the apparent contradiction between

Ido Noy

Denkmalpflege und Archäologie, 2010), 324–334; Maika Lämmerhirt, “Zur Geschichte der Juden in mittelalterlichen Erfurt,” in ibid., 334–347. See also Stürzebecher, “Der Schatzfund,” 151–155. 6 On the methodological problem involved in the identification of these treasures as Jewish, see Michael Toch, “Medieval