Search Results

You are looking at 1 - 10 of 47 items for :

  • All: "hybridity" x
  • Jewish History & Culture x
Clear All

Sara Lipton

image, from a fifteenth-century Italian Book of Psalms in Hebrew. 1 Epstein and his colleagues convincingly read this cultural boundary blurring—variously called syncretism, acculturation, hybridity, mimicry—as a form of creativity and a sign of confidence, even defiance, rather than ignorance of or

Ilia Rodov

-ethnic element un-dissolved in the melting of cultures, this synagogue might well have been a case of the steadily expanding hybrid model of Jewish subcultures coexisting in Israeli society. Geva’s research of a contemporary Israeli synagogue and the discussions on medieval synagogues in Christian Spain by

Ido Noy

protective images, especially of mythical animals, hybrids, and monsters. Similar to the role of some grotesques on Gothic façades, the idea was to exploit the magical power of these creatures in order to protect the sexual organs from external hazards. 24 The Erfurt Girdle consists of four reptile

Karen B. Stern

Rechavia in Jerusalem, the design of the tomb is a stylistic hybrid of Hellenistic and regional architectural forms. 23 Excavators discovered multiple graffiti and dipinti of diverse lexical contents throughout the vestibule and porch of the structure. These include textual graffiti in Greek and Aramaic

Leslie Ann Blacksberg

hybridity (the dissolution of cultural boundaries between groups previously considered as separate; the intermixing of identities) to cast away any notion that medieval Spain was made up of polarized and divisive ethnic communities. Gone is the fixed view of a Reconquista Spain populated by the victors and

Hillary Chute

s)? Some of the contributors do address Judaism and the Jewish experience in compelling ways. The German-Jewish artist Charlotte Salomon (1919–1943), who created a hybrid sequential narrative called Life? Or Theatre? —a series of gouaches with images and words—before she was killed at Auschwitz

David Sperber

processes of hybrid- ization and purification (these terms will be explained shortly) as fundamental processes in the construction of mainstream art discourse in Israel. 1 This article is an expanded version of my article (in Hebrew) in Akdamot 24 (2010): 39–55. The principal arguments concern- ing the

Steven Fine

explicitly how the Jewish and (mainly) Christian remains reflect a shared though highly complex culture. This approach is consonant with contemporary discussion of Jewish-Christian relations in the Holy Land, and of the interplay between art and its multicultural and sometimes “hybrid” environments

Margaret Olin

Without Art: Examining Modern Discourses in Jewish Art (Lincoln: University of Nebraska, 2001), 37–40. to reject the notion of purity altogether, and to embrace the hybridity of a Bezalel. There is usu- ally something unique about an amalgam of di ff erent styles. Indeed, it is hard to forge unique

Samantha Baskind

themes. More expressly, while frequently highlighting the photographers’ concern with social justice and content, Morris presents additional components of their oeuvres. Beginning in 1972, Davidson developed a remarkable relationship with Isaac Bashevis Singer, who starred in a hybrid documentary and