MARC Record from marc_openlibraries_sanfranciscopubliclibrary

LEADER: 04078cam a2200553 i 4500
001 899145410
003 OCoLC
005 20151005124131.0
008 140522s2014 nyua b 001 0 eng
010 $a2014015899
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016 7 $a016939297$2Uk
019 $a869438006$a897874450
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037 $bHenry Holt & Co, C/O Mps 175 Fifth Ave, New York, NY, USA, 10010$nSAN 631-5011
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050 00 $aN8219.J49$bL57 2014
082 00 $a704.9/49305892404$223
092 $a704.9493$bL6696d
100 1 $aLipton, Sara,$d1962-$eauthor.
245 10 $aDark mirror :$bthe medieval origins of anti-Jewish iconography /$cSara Lipton.
250 $aFirst edition.
264 1 $aNew York :$bMetropolitan Books/Henry Holt and Company,$c2014.
300 $axxi, 390 pages :$billustrations (some color) ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction: In a mirror, darkly -- Mirror of the fathers: the birth of a Jewish iconography, ca. 1015-1100 -- Blinding light and blinkered witness, ca. 1100-1160 -- Jewish eyes: loveless looking and the unlovely Christ, ca. 1160-1220 -- All the world a picture: Jews and the mirror of society, ca. 1220-1300 -- The Jew's face: flesh, sight, and sovereignty, ca. 1230-1350 -- Where are the Jewish women? -- The Jew in the crowd: surveillance and civic vision, ca. 1350-1500 -- Conclusion.
520 $a"In Dark Mirror, Sara Lipton offers a fascinating examination of the emergence of anti-Semitic iconography in the Middle AgesThe straggly beard, the hooked nose, the bag of coins, and gaudy apparel--the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages--why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals--not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself"--$cProvided by publisher.
650 0 $aJews in art.
650 0 $aAntisemitism in art.
650 0 $aArt, Medieval.
650 0 $aArt and society$zEurope$xHistory$yTo 1500.
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957 00 $aOCLC reclamation of 2017-18
907 $a.b29408635$b07-09-15$c12-03-14
938 $aBaker and Taylor$bBTCP$nBK0014391711
956 $aPre-reclamation 001 value: ocn869770495
980 $a0115 KL
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