rajner mirjam (134 risultati)

Softcover. Condizione: Fine. Leichte Rillen / Abschürfungen / Risse / Knicke. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. The book showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such, it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts.

Paper Back. Condizione: Very Good. Littman Library Of Jewish Civilization, 2014. Soft Cover Condition: Very Good.

Condizione: Used - Very Good. VG paperback. ISSN: 1565-6721. Top corner of front cover creased, otherwise a bright, clean copy.

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PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

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PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condizione: new. Paperback. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. The study of Jewish art frequently raises questions relating to Jewish survival and Jewish identity. These issues have always been of relevance throughout the Jewish diaspora, and as is evident from the articles in this volume they continue to concern Jewish artists to this day. The opening article, 'Illuminations of Kol Nidrei in Two Ashkenazi Mahzorim' by Sara Offenberg, deals with the hidden meanings expressed by groups of animals depicted in two medieval Ashkenazi prayer books for the Day of Atonement. By using allegorical animals in this way the Jews of the thirteenth and fourteenth centuries could safely express their fear of the hostile Christian society in which they lived, as well as their trust in God and belief in redemption. A surprising link between the Middle Ages and modern times is made by Rachel Singers article, 'Maurice Sendaks Where the Wild Things Are: An Exploration of the Personal and the Collective'. Published in 1963, this classic childrens book, written and illustrated by the son of a Jewish immigrant family in Brooklyn, is far removed, both chronologically and geographically, from the Ashkenazi Middle Ages. In her study, however, Singer prises out hidden sources of antisemitic perceptions rooted in medieval Christian Europe. This leads us to the volumes third article, *'The Return of the Wandering Jew(s) in Samuel Hirszenbergs Art' by Richard I. Cohen and Mirjam Rajner. The motif of the wandering Jew, a negative and frightening gure, is rooted in the late Middle Ages: it made its first appearance in Christian art, in printed books which disseminated the Christian legend all over Europe. In the nineteenth century, Jewish artists engaging with the image of the wandering Jew endowed it with new interpretations and presentations. One of these is revealed by the authors as they focus on the painting *The Wandering Jew, created in 1899 by the Polish Jewish artist Samuel Hirszenberg. As is well known, emancipation and the Jewish national awakening in late nineteenth-century Europe were accompanied by diverse artistic activities. These included the establishment of Jewish societies promoting Jewish art and artists, exhibitions, documentation, and research. Among the most impressive efforts were the activities of Jewish artists in interwar Poland, recorded in contemporary local newspapers and periodicals. As these were published in Polish and Yiddish they werent accessible to the English-speaking reader, something that is now rectied by Renata Piatkowska in A Sense of Togetherness: The Jewish Society for the Encouragement of the Fine Arts in Warsaw (19231939)'. Based on primary sources, the article introduces us to the ourishing artistic life which was cruelly destroyed in the Holocaust. Another result of Jewish national awakening, in this case in the medium of photography, is presented in 'Modernity as Anti-Nostalgia: The Photographic Books of Tim Gidal and Moshe Vorobeichic and the Eastern European Shtetl', by Rose-Carol Washton Long. This article examines how Zionist ideas led two assimilated German-trained photographers to develop variant thematic and stylistic portrayals of eastern European shtetls in their photobooks, published in 1931 and 1932. Their volumes are neither romantic nor nostalgic, but instead convey a vibrant vision of modernity. While the first five articles discus Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Following current developments in contemporary art history, historiansof Jewish art increasingly redefine themselves as studying Jewish visualculture and also distance themselves from any single definition of Jewish.Focusing instead on the range and flexibility of both individual and collectiveJewish self-identification, the trend today is to consider artistic creativity,messages, and reception in multiple intracultural settings.Reflecting this trend, the volumepresents a round-table discussion and selected papers from Constructing andDeconstructing Jewish Art, an international symposium held at Bar-IlanUniversity in 2015. Accordingly, Steven Fine questions the role of ideologiesand the limits of semantic analysis in contemporary readings of ancient Jewishart. Sergey Kravtsov traces the transmission of legends about the Jewish pastthrough cultures and artistic practices. Larry Silver proposes that in modernsocieties, all artists of Jewish origin are marked by their Jewishness anddevelop a minority self-consciousness. Ben Schachter notes how criticism of religiousart has neglected the material and artistic process and focused only onspirituality and theology. Kathrin Pieren discusses the role of public displaysin negotiating the relationship between art and identities. The volume alsoincludes two articles on the effects of displacement on the art oftwentieth-century Jewish artists of Russian origin; description of a forgottenmasterpiece by Hermann Struck; and book reviews.ArsJudaica is an annual publication of the Department ofJewish Art at Bar-Ilan University. It showcases the Jewish contribution to thevisual arts and architecture from antiquity to the present from a variety ofperspectives, including history, iconography, semiotics, psychology, sociology,and folklore. As such it is a valuable resource for art historians, collectors,curators, and all those interested in the visual arts.Contributors: Ziva Amishai-Maisels, Hebrew University of Jerusalem, Maya Balakirsky Katz, Touro College, New York, Samantha Baskind, Cleveland State University, Asher Biemann, University of Virginia, Monika Czekanowska-Gutman, University of Warsaw, Marina Dmitrieva, Leibniz-Institut fuer Geschichte und Kultur des OEstlichen Europa, Leipzig, Steven Fine, Yeshiva University, New York, Eva Frojmovich, University of Leeds, Batsheva Goldman-Ida, Tel Aviv Museum of Art, William L. Gross, collector, Tel Aviv, Felicitas Heiman-Jelinek, independent scholar and curator, Vienna, Ahuva Klein, independent researcher, Tel Aviv, Rudolf Klein, Szent Istvan University, Budapest, Lola Kantor Kazovsky, Hebrew University of Jerusalem, Katrin Kogman-Appel, Westfaelische Wilhelms-Universitaet, Muenster, Sergey R. Kravtsov, Hebrew University of Jerusalem, Shulamit Laderman, Schechter Institute for Jewish Studies, Jerusalem, Irit Miller, University of Haifa, Kathrin Pieren, University of Southampton, Mirjam Rajner, Bar-Ilan University, Ramat-Gan, Ilia Rodov, Bar-Ilan University, Ramat-Gan, Ben Schachter, Saint Vincent College, Pennsylvania, Larry Silver, University of Pennsylvania, Daniel Sperber, Bar-Ilan University, Ramat-Gan, Annette Weber, Hochschule fuer Juedische Studien, Heidelberg, Gil Weissblei, National Library of Israel, Jerusalem, Bracha Yaniv, Bar-Ilan University, Ramat-GanVolumes of Ars Judaica are distributed bythe Littman Library of Jewish Civilization throughout the world, except Israel.Orders and enquiries from Israeli customers should be directed to:Ars JudaicaDepartment of Jewish ArtBar-Ilan UniversityRamat-Gan 52900telephone 03 5318413fax 03 6359241email Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts.Contributors: Zsofia Buda, Andreina Contessa, Monika Czekanowska-Gutman, Basema Hamarneh, Moshe Idel, Sharman Kadish, Reuven Kiperwasser, Rudolf Klein, Susan Nashman Fraiman, Ido Noy, Larry Silver, Ronit Sorek, Sharon Weiser-FergusonVolumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to:Ars JudaicaDepartment of Jewish ArtBar-Ilan UniversityRamat-Gan 52900telephone 03 5318413fax 03 6359241email Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. Orders and enquiries from Israeli customers should be directed to:Ars JudaicaDepartment of Jewish ArtBar-Ilan UniversityRamat-Gan 52900telephone 03 5318413fax 03 6359241email Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condizione: new.

Condizione: new.

Condizione: new.

Paperback. Condizione: New. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. The study of Jewish art frequently raises questions relating to Jewish survival and Jewish identity. These issues have always been of relevance throughout the Jewish diaspora, and as is evident from the articles in this volume they continue to concern Jewish artists to this day. The opening article, 'Illuminations of Kol Nidrei in Two Ashkenazi Mahzorim' by Sara Offenberg, deals with the hidden meanings expressed by groups of animals depicted in two medieval Ashkenazi prayer books for the Day of Atonement. By using allegorical animals in this way the Jews of the thirteenth and fourteenth centuries could safely express their fear of the hostile Christian society in which they lived, as well as their trust in God and belief in redemption. A surprising link between the Middle Ages and modern times is made by Rachel Singer's article, 'Maurice Sendak's Where the Wild Things Are: An Exploration of the Personal and the Collective'. Published in 1963, this classic children's book, written and illustrated by the son of a Jewish immigrant family in Brooklyn, is far removed, both chronologically and geographically, from the Ashkenazi Middle Ages. In her study, however, Singer prises out hidden sources of antisemitic perceptions rooted in medieval Christian Europe. This leads us to the volume's third article, *'The Return of the Wandering Jew(s) in Samuel Hirszenberg's Art' by Richard I. Cohen and Mirjam Rajner. The motif of the wandering Jew, a negative and frightening ?gure, is rooted in the late Middle Ages: it made its first appearance in Christian art, in printed books which disseminated the Christian legend all over Europe. In the nineteenth century, Jewish artists engaging with the image of the wandering Jew endowed it with new interpretations and presentations. One of these is revealed by the authors as they focus on the painting *The Wandering Jew, created in 1899 by the Polish Jewish artist Samuel Hirszenberg. As is well known, emancipation and the Jewish national awakening in late nineteenth-century Europe were accompanied by diverse artistic activities. These included the establishment of Jewish societies promoting Jewish art and artists, exhibitions, documentation, and research. Among the most impressive efforts were the activities of Jewish artists in interwar Poland, recorded in contemporary local newspapers and periodicals. As these were published in Polish and Yiddish they weren't accessible to the English-speaking reader, something that is now recti?ed by Renata Piatkowska in 'A Sense of Togetherness: The Jewish Society.

Condizione: new.

Condizione: new.

Condizione: new.

Condizione: new.

Condizione: new.

Condizione: new.