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Imagining the Self, Imagining the Other

Visual Representation and Jewish-Christian Dynamics in the Middle Ages and Early Modern Period


Edited by Eva Frojmovic

This collection revisits the complex subject of medieval visual representations of Jews and Judaism by themselves and by Christians. The topics range from questions of Jewish identity in Iberian illuminated Hebrew manuscripts (13th-14th centuries) to representations of Synagoga and Judas in the Bible Moralisée and cathedral sculpture, to early modern Jewish self-images. The essays are prefaced by a critical study of the discovery of medieval Jewish art among art historians and cultural activists ca. 1900-35. The volume will be of value to art historians, as well as medieval and early modern historians with an interest in Jewish culture and Jewish-Christian relations.

Contributors include: Michael Batterman, Marc Michael Epstein, Eva Frojmovic, Thomas Hubka, Sara Lipton, Annette Weber, and Diane Wolfthal.

David Sperber

© Koninklijke Brill NV, Leiden, 2011 IMAGES 4 Also available online – DOI: 10.1163/187180010X547666 DAVID SPERBER Independent Scholar ISRAELI ART DISCOURSE AND THE JEWISH VOICE Abstract Israeli critical art discourse reflects both opposition to Jewish tradi- tion and its enduring

Chaim Noy

For Abba —the folklorist And for Ima —the physical anthropologist zikhram livracha ay their memories be a blessing וְכָל-הָעָם רֹאִים אֶת-הַקּוֹלֹת “And the people saw the voices” (Exodus 20:15, JPS Tanakh translation) One of the main questions that propelled this

Carol Zemel

diverse group of thirteen talking heads recount their experience of dispersal, refuge or home (fig. 3). They voice an emotional range: rage, relief, uncertainty, hope. With reports of local hostilities and jumping off a train, two of the travelers seem to be Jews voicing a repeated Holocaust history

Hungarian Jews in the Age of Genocide

An Intellectual History, 1929–1948


Ferenc Laczó

Hungarian Jews, the last major Jewish community in the Nazi sphere of influence by 1944, constituted the single largest group of victims of Auschwitz-Birkenau. In Hungarian Jews in the Age of Genocide Ferenc Laczó draws on hundreds of scholarly articles, historical monographs, witness accounts as well as published memoirs to offer a pioneering exploration of how this prolific Jewish community responded to its exceptional drama and unprecedented tragedy. Analysing identity options, political discourses, historical narratives and cultural agendas during the local age of persecution as well as the varied interpretations of persecution and annihilation in their immediate aftermath, the monograph places the devastating story of Hungarian Jews at the dark heart of the European Jewish experience in the 20th century.

Steven Fine

secondary sources for this siege is most useful. Most significantly, our authors hear shadows of this event in late antique Jewish sources, with particular reference to a piyyut, a liturgical poem Eleazar be-Rabbi Qillir, (early 7th c.): Instead of the sound of weeping, a prophetic voice was heard during

Steven Fine

the presentation, giving an explicit celebratory voice to the complexities of the project. The exhibition continued with “ The Seventeenth Century and the Baroque World” (fig. 6). Here one was confronted with two dazzling silver Christian candelabras from the cathedral in Mallorca, and Poussin’s 1638

Ilia Rodov

, e.g., Matthias Küntzel, “Iranian Antisemitism: Stepchild of German National Socialism,” Israel Journal of Foreign Affairs , 4 no. 1 (2010): 43–51. Dallalfar’s sources represent only intimidated self-censored Jewish voices inside Iran. For example, she quotes a claim published in the official

Joey Orr

Traditional Murder Ballad Giving Voice to ‘Pretty Polly,’” Women and Music: A Journal of Gender and Culture 9 (2005): 13–36. In addition to her sources, I have developed a general understanding from some older texts, including Anne B. Cohen’s Poor Pearl, Poor Girl! (Austin and London: The University of