Dark Mirror: The Medieval Origins of Anti-Jewish Iconography

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9780805079104: Dark Mirror: The Medieval Origins of Anti-Jewish Iconography
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Praise for "Dark Mirror""" "In compelling and accessible prose, Lipton shows how images we may take as perennial have a rich and contested history. She wears her deep erudition lightly, but it still comes through in this powerful, effectively illustrated account."--"The Washington Post""Rewardingly detailed . . . This study of medieval anti-Jewish iconography argues that its proliferation not only reflected the spread of intolerance but in fact actively generated anti-Semitic attitudes."--"The New Yorker" ""Dark Mirror "is a spectacular achievement. No one interested in the troubled history of the relations of Jews and Christians in medieval Europe can afford to ignore it. Every page is a revelation."--William Chester Jordan, author of "Unceasing Strife, Unending Fear: Jacques de Therines and""the Freedom of the Church in the Age of the Last Capetians""In this challenging, original, and eloquent study, Sara Lipton takes on our received notion of the place of the Jew in Christian art and culture--and reshapes modern perceptions of medieval history and medieval art."--Jeffrey F. Hamburger, author of "Script as Image""An illuminating, subtle, yet eminently readable book about artistic images and their curious afterlife. There are few other medievalists who possess simultaneously the artistic eye and deep historical understanding to undertake this pathbreaking research. "Dark Mirror "is a major study of art, society and history that will change how medieval anti-Judaism is to be explained and related to its modern descendants."--Paul Freedman, author of "Images of the Medieval Peasant""In this thoughtful, lucid book Sara Lipton challenges recent accounts of the politics of difference, proposing a history that is at once complex and nuanced. She convincingly embraces theology, philosophy, gender, the family and the city--and above all makes a powerful, balanced and engaging case for the way that art itself constituted discourse."--Paul Binski, author of "Becket's Crown: Art and Imagination in Gothic England, 1170-1300""Among its many accomplishments, "Dark Mirror "dispels some widely held ideas about how Christians saw and understood Jews in the Middle Ages. With patience and wisdom Sara Lipton unravels an intriguing and fateful history of fascination and disgust. This is a book for anyone interested in the Middle Ages, in the Christian imagination, and in the experiences of the Jews."--Miri Rubin, author of "Mother of God: a History of the Virgin Mary""Compellingly, thoughtfully, Sara Lipton demonstrates that for medieval Europeans, the 'Dark Mirror' of Jewry invariably reflected not a distinctive minority group, but society at large. As cartoonist Walt Kelly famously declared, 'We have met the enemy, and he is us.' Lipton will let none of us escape our common humanity."--Ingrid Rowland, author of "Giordano Bruno: Philosopher/Heretic""In this remarkable book, Lipton proposes that representations of Jews in high medieval art were not motivated by ingrained anti-Jewish sentiments. Instead, the figure of the Jew emerged as a device to excite Christian devotion. Dark Mirror's arresting claim is that the origins of anti-Jewish attitudes are to be found in Christianity's complex relationship with itself."--Daniel Lord Smail, author of "On Deep History and the Brain"

Críticas:

Advance Praise for "Dark Mirror""" ""Dark Mirror "is a spectacular achievement. No one interested in the troubled history of the relations of Jews and Christians in medieval Europe can afford to ignore it. Every page is a revelation."--William Chester Jordan, author of "Unceasing Strife, Unending Fear: Jacques de Therines and""the Freedom of the Church in the Age of the Last Capetians""In this challenging, original, and eloquent study, Sara Lipton takes on our received notion of the place of the Jew in Christian art and culture--and reshapes modern perceptions of medieval history and medieval art."--Jeffrey F. Hamburger, author of "Script as Image""An illuminating, subtle, yet eminently readable book about artistic images and their curious afterlife. There are few other medievalists who possess simultaneously the artistic eye and deep historical understanding to undertake this pathbreaking research. "Dark Mirror "is a major study of art, society and history that will change how medieval anti-Judaism is to be explained and related to its modern descendants."--Paul Freedman, author of "Images of the Medieval Peasant""In this thoughtful, lucid book Sara Lipton challenges recent accounts of the politics of difference, proposing a history that is at once complex and nuanced. She convincingly embraces theology, philosophy, gender, the family and the city--and above all makes a powerful, balanced and engaging case for the way that art itself constituted discourse."--Paul Binski, author of "Becket's Crown: Art and Imagination in Gothic England, 1170-1300""Among its many accomplishments, "Dark Mirror "dispels some widely held ideas about how Christians saw and understood Jews in the Middle Ages. With patience and wisdom Sara Lipton unravels an intriguing and fateful history of fascination and disgust. This is a book for anyone interested in the Middle Ages, in the Christian imagination, and in the experiences of the Jews."--Miri Rubin, author of "Mother of God: a History of the Virgin Mary""Compellingly, thoughtfully, Sara Lipton demonstrates that for medieval Europeans, the 'Dark Mirror' of Jewry invariably reflected not a distinctive minority group, but society at large. As cartoonist Walt Kelly famously declared, 'We have met the enemy, and he is us.' Lipton will let none of us escape our common humanity."--Ingrid Rowland, author of "Giordano Bruno: Philosopher/Heretic""In this remarkable book, Lipton proposes that representations of Jews in high medieval art were not motivated by ingrained anti-Jewish sentiments. Instead, the figure of the Jew emerged as a device to excite Christian devotion. Dark Mirror's arresting claim is that the origins of anti-Jewish attitudes are to be found in Christianity's complex relationship with itself."--Daniel Lord Smail, author of "On Deep History and the Brain"

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Descripción Henry Holt Company Inc, United States, 2014. Hardback. Estado de conservación: New. 242 x 168 mm. Language: English . Brand New Book. The straggly beard, the hooked nose, the bag of coins, and gaudy apparel - the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages-why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals-not only in medieval society, but throughout Western history?What we find is that the image of the Jew in medieval art was not a portrait of actual neighbours or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself. Nº de ref. de la librería AAC9780805079104

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Descripción Henry Holt Company Inc, United States, 2014. Hardback. Estado de conservación: New. 242 x 168 mm. Language: English . Brand New Book. The straggly beard, the hooked nose, the bag of coins, and gaudy apparel - the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages-why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals-not only in medieval society, but throughout Western history?What we find is that the image of the Jew in medieval art was not a portrait of actual neighbours or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself. Nº de ref. de la librería AAC9780805079104

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Descripción Henry Holt Company Inc, United States, 2014. Hardback. Estado de conservación: New. 242 x 168 mm. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. The straggly beard, the hooked nose, the bag of coins, and gaudy apparel - the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages-why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals-not only in medieval society, but throughout Western history?What we find is that the image of the Jew in medieval art was not a portrait of actual neighbours or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself. Nº de ref. de la librería BTE9780805079104

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Descripción Henry Holt & Company Inc. Hardback. Estado de conservación: new. BRAND NEW, Dark Mirror, Sara Lipton, The straggly beard, the hooked nose, the bag of coins, and gaudy apparel - the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages-why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals-not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbours or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself. Nº de ref. de la librería B9780805079104

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Descripción Metropolitan Books. Hardcover. Estado de conservación: New. Hardcover. 416 pages. Dimensions: 9.5in. x 6.3in. x 1.4in.In Dark Mirror, Sara Lipton offers a fascinating examination of the emergence of anti-Semitic iconography in the Middle AgesThe straggly beard, the hooked nose, the bag of coins, and gaudy apparelthe religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ageswhy did Jews becomes such powerful and poisonous symbols in medieval art Why were Jews associated with certain objects, symbols, actions, and deficiencies And what were the effects of such portrayalsnot only in medieval society, but throughout Western history What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Hardcover. Nº de ref. de la librería 9780805079104

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