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1
Lewy, Mordechay. "Corporeality in Jewish Thought and Art." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2011/5331/.
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The essay compares the dichotomous concepts of corporeality and spirituality in Judaism and Christianity. Through the ages, deviations from normative principles of beliefs could be discerned in both religions. These can be attributed either to the somewhat confrontational interaction between Jews and Christians in the Medieval urban environment or to the impact of Hellenic civilization on both monotheistic religions. Out of this dynamic impact emerged Christian art with a predilection to expressed corporeality, whereas Jewish religiosity found its artistic expression in a spiritual noniconographical mode. A genuine Jewish art and iconography could develop only after a certain degree of assimilation and secularization. Marc Chagall was the first protagonist of a mature expression of Jewish iconography.Im Essay werden Körperlichkeit und Spiritualität als dichotomes Begriffspaar im Judentum (und Islam) gegenüber dem Christentum verglichen. Im Geschichtsverlauf wurden bei beiden Religionen Abweichungen von den sogenannten normativen Glaubenssätzen festgestellt. Diese können sowohl auf gegenseitige Beeinflussung (Anpassung durch Konfrontation im Mittelalter zwischen Judentum und Christentum) wie auch auf externe Akkulturationsprozesse (Hellenisierungsprozess im antiken Judentum) zurückgeführt werden. Es entsteht ein dynamisches Wechselspiel, wobei in der christlichen Kunst eine allmähliche Verkörperlichung stattfindet, während sich die jüdische Religiosität und der Kunstausdruck auf eine Vergeistigung festlegen. Eine eigenständige jüdische Kunstsprache und Ikonographie konnte allerdings erst nach einem gewissen Assimilationsgrad und Säkularisierungsprozess entstehen. Bei Marc Chagall hatte sie ihre erste Reife erreicht.
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Davidson, Lindy Reznick. "Innovative incorporation of cultural arts in Jewish education : how to enlighten the Jewish community with quality cultural arts programming /." Ann Arbor, Mi : University Microfilms, 2005. http://wwwlib.umi.com/dissertations/fullcit/1427969.
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Tsang, Wing-yi. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40040355.
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Tsang, Wing-yi, and 曾穎怡. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B40040355.
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Nichol, Richard C. "The art and science of Messianic Jewish preaching." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Manor, Dalia. "Art in Zion : the genesis of modern national art in Jewish Palestine." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398108.
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Béchard-Léauté, Anne. "The contribution of émigré art historians to the British art world after 1933." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/244931.
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The purpose of this Ph.D. thesis on émigré art historians in Britain is not only to show how alien the concept of art history was to the British before 1933, but also to assess and qualify the subsequent practical and theoretical contribution of art historians who immigrated to Britain. These 93 art historians who immigrated to Great Britain after 1933 had a major impact on the British art world. Yet, apart from a few monographs on Sir Ernst Gombrich and Sir Nikolaus Pevsner, no in-depth study has ever been done on this influx of scholars who changed the - picture of art history in Britain and, by extension, worldwide. Part one is a biographical enquiry based on both archival and historical research undertaken in Germany, work done in various private estates and public archives in Britain - the majority of which have never been utilised before - and interviews carried out both in Germany and Britain. It addresses fundamental issues about lewishness and the arts and gives an overview of the stages of Nazi persecution of art-related professions in Central Europe. It then categorises different groups which emerged in Britain between 1933 and 1945, depending on both gender issues and the intellectual background of the emigres. Eventually, it investigates the settlement of émigré art historians in Britain. This involves an analysis of the reasons which led refugee art historians to choose Great Britain as a first exile country. It focuses on help networks, problems of subsistence in a country where art history was under-developed, internment, the role played in the war effort, "Remigration" and, finally, the institutional acceptance of different emigre art historians by British scholars. The second section of my thesis is theoretical. It investigates the intellectual reaction of the émigrés to the British formalist tradition as well as the encounter of British scholars with the Central Europeans' non-aesthetical input. After emigration, some iconographers tried to steer clear of conventional style analysis, Geistesgeschichte or any other method involving criteria based on nationalistic components. It has been noted that émigré art historians took extreme care to winnow out any ideological inflection from their work by undertaking systematic research. However, a case study of the adaptation of the two most prominent emigre art historians emphasises the diversity in this "ideological withdrawal" and demonstrates that emigration was a key factor in their intellectual development. Pevsner's adherence to Hegelian and nationalistic analysis was transformed into a broader international version so as to escape the ideological debate. On the other hand, Gombrich's rejection of systems is an exacerbated phenomenon of the detachment from Hegelian historiography. This part eventually analyses another factor which had a deep influence on the works of the émigrés, i.e. language. Emigration was an important stage in the development of art history as the transfer to a new language helped clarify the art historical terminology of the émigrés. The third part of this thesis sheds some light on the active role of emigre art historians in Britain. It includes substantial work on the influence of the emigres on the structuring of art historical education, a survey of the emigres' new attempts in museology and a study of the unprecedented input of émigré art historians in art collecting, art dealing and art publishing. This thesis shows the extent of the influence of emigre art historians both in intellectual and practical domains. In the realm of theories, the British art theorists acknowledged a need for a more scientific discipline while remaining very attached to their tradition of "art appreciation", and the same phenomenon applied to their attitude towards art-historical education. In the practical arena, the British art scene was also professionalised through this influx of scholars. This Ph.D. thesis concludes that the post-1933 emigration of art historians professionalised the British art world but that this was achieved through a popularisation of the methods and techniques originally imported by the emigres.
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Smith, Dana. "The Jewish Kulturbund in Bavaria, 1934-1938 : art and Jewish self-representation under National Socialism." Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/27224.
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This thesis has two foci: the development of a National Socialist anti- Jewish cultural policy and the processes of internal Jewish community cultural self-representations. At the most basic level it is an organisational history of the Jewish Kulturbund in Bavaria between 1934 and 1938. Ultimately, however, the thesis is about the people: the artists, how they employed certain mediums for specific uses and how these events were received. The Kulturbund was the lone state approved Jewish cultural organisation in Nazi Germany; it was, in other words, the only public space for Jewish cultural performance and consumption. Activity began in Berlin in the summer of 1933 and expanded to cities, towns and villages throughout the country. Unlike the majority of these early branches, however, the Jewish Kulturbund in Bavaria developed independently of Berlin's main offices. Bavarians maintained autonomous control of their cultural league until the autumn of 1935. Organised Bavarian Jewish cultural life was 'liquidated' upon official state orders after 9 November 1938. This thesis analyses the Kulturbund programme as an internal projection of willed identity for Bavarian Jews. Kulturbund events - particularly in the early seasons when National Socialist censorship was ill-defined and haphazardly enforced - reflected the ways its membership chose to stage their own understandings of what it meant, to them, to be 'Jewish'. It was a process of dissimilation and internal community building that helped its membership navigate their experiences of political persecution and social flux. What developed in the Bavarian programme from February 1934 until November 1938 was a representation of 'Jewishness' that was self-described as both religious- and heritage-based with a regional bent.
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COHEN, MARGARET WINTERS. "A NEW TRADITION: JEWISH PORTRAITURE IN SEVENTEENTH-CENTURY AMSTERDAM." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054309065.
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Rosen, Aaron Matthew. "Brushes with the past : art history and Jewish imagination." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612180.
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Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.
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Garfield, Rachel. "Identity politics and the performative : encounters with recent Jewish art." Thesis, Royal College of Art, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565963.
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My research explores the interplay between identity politics, as it has emerged in Britain since the early 1980s and Jewish identity in the visual arts. I ask why there has not been a movement to make Jewish art visible within mainstream art practice and why Jewish experiences in art have been invisible under the rubric of cultural diversity. My thesis has four main interpretive themes. The first theme is a comparative study of the strategies employed by Black and Asian artists and institutions and Jewish artists and institutions. Here I explore some of the different forces at play within the histories of the two forms of curatorial practice. The second theme examines some of the key thinkers who have framed the debates on Black identity. Stuart Hall, Kobena Mercer and Frantz Fanon inform my understanding of the development of the elision of Jewish identity within identity politics, premised upon debates grounded in geographical specificities of post-colonial diasporas and hierarchies of oppression as understood through the assumed corporeal visibility of blackness. Judith Butler offers a way of thinking about difference that is not premised upon markers of visibility. In the third theme, through Butler's reworking of Althusser's interpellation theory I question the lack of choice in how a subject forms his or her identity. Finally I study the practice of three artists, Oreet Ashery, Ruth Novaczek and Deborah Kass who, by using the cipher of an avatar, undermines any reliance on reading of self through the visual in their work. By questioning the visible and the visual in the formation and/or recognition of Jewish identity I argue that the issue has wide implications. By problematising the reliance on the visual or visibility, identity politics can reach beyond the reliance on definition and categorization which continues to exclude as much as include.
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Seter, Ronit. "Yuvalim be-Israel : nationalism in Jewish-Israeli art music, 1940-2000 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050015j.
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Blaustein, Cindy Garfinkel. "An investigation of twentieth century observant Jewish fine artists." FIU Digital Commons, 1993. http://digitalcommons.fiu.edu/etd/1695.
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People of the Jewish faith base their belief on the written word of the Torah. Presented in this paper are fine artists that produce work within these laws. The Torah sets guidelines for life and morality. The belief system within this domain is that visual images have an impact on the viewers, and artists are accountable for what they produce. This is in opposition with art education, where freedom of expression takes precedence over morality. The results of this study will form the basis for a curriculum for the community college.
The researcher's area of inquiry is directed to painting and sculpture made by artists of the Jewish faith who follow the Torah, meaning those who are observant of their faith and practices. Their skills and perceptions will be presented to educate the viewer about their visions. The research questions were posed to rabbinical authorities and artists in order to establish a clear and defined statement of what the Jewish law is regarding the fine arts.
The evidence presented was obtained by questionnaires, personal interviews, articles, and opinions from Jewish scholars. Four rabbis were selected based on their erudition on Torah law, and their strong leadership positions in Jewish educational institutions. The ten artists were selected based on recommendations from art historians, and art and gallery directors. The artists and the rabbis were mailed questionnaires, which was followed by an interview.
The conclusion from this study is that fine artists are encouraged to use their talents, this is supported by the Torah text, and rabbinic explanation. The restriction for the Jewish artist is in making a replication of a realistic full-scale figure, making a visual rendition of G-d, a nude, or violent image. Art is made by the observant Jew with the intention of enhancing the world with visions inspired by their belief in the Torah. A crucial belief in Judaism is that there is but one G-d, and all man-made images should reflect the majesty of G-d's creations.
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Liu, Dan. "Holocaust representation in Art Spiegelman's Maus." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456309.
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Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.
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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.
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Tatham, Gail Constance, and n/a. "Stories of Moses and visual narration in Jewish and early Christian art (3rd century AD)." University of Otago. Department of Classics, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080318.163116.
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This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model.
Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled.
During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.
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Locatelli, Sofia. "Les pierres tombales de l’ancien cimetière juif du Lido de Venise : histoire, art, poésie et paléographie." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP013.
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L'ancien cimetière du Lido de Venise a été construit en 1386. En raison de son emplacement favorable, juste en face de la lagune, le cimetière était parfois utilisé à des fins défensives et militaires. De nombreuses pierres tombales ont été perdues, détruites ou réutilisées, d'autres ont été déplacées vers une zone plus interne de la lagune, qui est devenue en 1774 le cimetière officiel connu sous le nom de «Nouveau cimetière». Les pierres tombales vénitiennes sont des artefacts riches en histoire, en poésie et en art. Leur étude nous permet non seulement de reconstruire la vie et les événements des membres de la communauté, mais également de détecter des aspects significatifs de la culture littéraire et artistique de l’époque. Cet ouvrage est un catalogue de toutes les 1240 pierres tombales incorporées dans le cimetière «Ancien» du Lido. Chaque fiche présente une analyse du style architectural des tombeaux ainsi que le type de pierre utilisé et son état de conservation, une description du blason gravé sur la pierre, une analyse paléographique de l'écriture, une note sur les caractéristiques poétiques et grammaticales du texte et un commentaire historique avec les information trouvées dans les registres de morts de la communauté. Les transcriptions et les traductions des épitaphes de l'hébreu à l'italien ont également été ajoutées pour 410 tombeaux. Cette analyse est complétée par une étude détaillée de l'histoire du cimetière et de sa communauté, ainsi que de la poésie des épitaphes, de la paléographie et de l'art. Ce dernier sujet a été approfondi par une analyse architecturale des pierres tombales et une étude inédite sur l'héraldique juiveThe Ancient Cemetery of the Lido in Venice was built in 1386: due to its favorable location just across the lagoon, the cemetery was occasionally used for defensive and military purposes. Many tombstones were lost, destroyed or reused, others were moved to a more internal area of the lagoon, which in 1774 became the official cemetery known as “New Cemetery”. Venetian tombstones are artifacts rich in history, poetry and art. Their study allows us not only to rebuild the lives and the fortunes of the community members, but also to detect meaningful aspects of the literary and artistic culture of that time. This work is a catalogue of all the 1240 tombstones incorporated in the “Ancient” cemetery of the Lido. Each gravestone presents an analysis of the architectural style of the tombs as well as the kind of stone used and an assessment of his condition, a description of the coat of arms if engraved on the stone, a paleographic analysis of the writing, a note about the poetic and grammatical features of the text and a historical commentary detailing any relevant information found in the community death records. Transcriptions and translations of the epitaphs from Hebrew to Italian have been also added for 410 tombs. This analysis is supplemented with a detailed study of the history of the cemetery and the Jewish community of Venice, as well as the poetry of epitaphs, the paleography and art. This last topic has been further explored through an architectural analysis of the tombstones and a study on the Hebrew heraldry in light of the emblems engraved on the stones of the Venetian cemetery
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Wojtowicz, Ian (Ian Stanislaw). "B'Seder : the design of a social medium for Polish and Jewish communities." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/78506.
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Thesis (S.M. in Visual Studies)--Massachusetts Institute of Technology, Dept. of Architecture, September 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 163-165).
"The history of the Polish-Jewish relationship is...the embattled terrain of several collective memories, each with its claim to moral legitimacy, and each charged with fierce and sometimes vehement feelings." These contested histories are the source of tension and animosity between Poles and Jews to this day. Unlike the German-Jewish relationship, where "the moral rights and wrongs were starkly clear," Poland's past is far more complex. This thesis describes the design of a storage and retransmission medium for these contested histories, using photography, nomadic performance, new media mapping techniques and imaginary architecture. The system, entitled B'Seder, makes use of the ancient technology of memory palaces to produce a long-term relational aesthetic practice for the transformation of post-conflict societies through storytelling, conversation, and the mapping of narratives into visual forms. Using a well established process from post-traumatic therapy, the medium focuses on restructuring fragmented memories into a cohesive, flowing story. In formal terms, the project begins with a photograph of an empty room. Anecdotes are collected from readings, films and conversations with community participants. These anecdotes are then transformed into mnemonic objects, which are depicted in the image. This process of accumulation of object/stories continues as the image is taken to new sites with new participants. The system then transitions into an editing and organizing mode where these anecdotes are arranged into a singular narrative sequence, which is memorized and recounted in public space.
by Ian Wojtowicz.
S.M.in Visual Studies
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Frahm, Ole. "Genealogie des Holocaust : Art Spiegelmans Maus - a survivor's tale /." München [u.a.] : Fink, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2637876&prov=M&dok_var=1&dok_ext=htm.
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Knoblock, Stacey Lee 1969. "The visual arts in Reform Jewish supplemental education: Art education beliefs and practices in context." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/291961.
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This thesis examines the context, content and pedagogy of visual art education in the Reform Jewish supplemental religious school. The study was guided by three major research questions: (1) What beliefs about art education are held by Reform Jewish educators? (2) What is the form and content of existing art education practices in the supplemental religious school setting? (3) What do these Reform Jewish educators perceive as necessary for the enhancement of the art education component of their curriculum? A study of a Reform Jewish supplemental school was conducted by myself as a teacher/researcher. Also, a sample of professional Reform Jewish educators was surveyed to determine art education beliefs and practices in the supplemental religious school setting. Survey results suggest a discrepancy between survey participants beliefs and practices in art education and those advocated by art educators. Contextual factors common to these settings are found to hinder possibilities for comprehensive visual arts education in the supplemental religious school. The study asserts that Jewish art education curricula must be developed from a discipline-based art education perspective in order to use instructional time most effectively.
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McAuley, James. "Material masterpieces : art collecting and the formulation of French-Jewish identity from Dreyfus to Vichy." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ffdd3e1e-efaa-4b05-b398-b1c9eb947656.
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This thesis relies on an extensive series of previously unexploited archival materials in France, Britain, and the United States to examine the role of art collecting among French-Jewish elites after Dreyfus and before Vichy. The families who constituted France's fin-de-siècle Jewish establishment - among others, the Rothschilds and the Reinachs, the Éphrussis and the Foulds, the Camondos and the Cahen d'Anvers - all shared an intense interest in collecting art and material objects. This interest they pursued with passion throughout a period in which the position of French Jews was increasingly uncertain. The Dreyfus Affair had challenged the promise of assimilation and the social station of the "israélite," while economic circumstances and waves of immigration from Eastern Europe had exacerbated extant French anti-Semitism. As plutocrats, many of these elite families were often even the targets of that anti-Semitism, yet they pursued their material interests regardless. Today, the collections they created - mostly of eighteenth-century French art - are their most enduring legacies, either in the form of individual public museums or as additions in other national museums. To that end, this thesis argues that material culture was central to the experiences of these families as Jews and as people in the French fin-de-siècle. The central contention of this thesis is that material culture was a crucial way in which these elites experienced Jewishness in private and especially in public. Beginning with Hannah Arendt (1951) and Michael Marrus (1971), most of the many studies of this fin-de-siècle milieu have tended to consider these individuals in the respective discourses of politics and culture. Few have emphasized their actual lived experiences as people with complex inner lives. Collecting, as archvial materials suggest, was a means of achieving personal sanctuary and solace in the midst of significant personal tragedies as well as an increasingly hostile external environment. It was also a significant means of preserving public dignity. Even fewer studies, after all, have emphasized the way in which French anti-Semitism of the late nineteenth century - from the likes of the journalist Édouard Drumont and the critics Edmond and Jules Goncourt - was often expressed in the language of material culture: Jews were attacked for "inauthentic" aesthetic tastes and for "invading" the realm of French cultural patrimony. As this thesis argues, Jewish elites responded to that material critique in material terms, amassing exhaustive collections of art and objects that, in their eyes, celebrated France and its glorious past. As many of their last wills and testaments suggest, the network of museums they created in the 1920s and 1930s were all subtle arguments for the compatibility of Frenchness and Jewishness. The Holocaust, of course, fundamentally altered the meaning of these museums as well as the memories of those who established them. This dissertation concludes with a reflection on these museums as "lieux de mémoire," material manifestations not only of vanished people but also of a vanished culture.
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Dodd, Everett Eugene III. "Moritz Oppenheim, the Rothschilds, and the Construction of Jewish Identity." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1288.
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This thesis provides an overview of Moritz Daniel Oppenheim's portraits of the Rothschild family with attention paid to the artist's training and personal artistic pursuits, as well as participation in Gentile and Jewish discourses. Oppenheim's knowledge of art history and use of style in creating the identities of his Rothschild subjects are the focus of this study. Oppenheim's methods and use of art historical styles are discussed with deference to the public or private nature of the portraits, and the resulting works' engagement of both German and Jewish issues. Methodologies used include the history of style and identity theory.
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Caplan, Debra Leah. "Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10869.
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This is the first study of the avant-garde Yiddish art theater movement, which flourished across five continents during the interwar period. From Warsaw to San Francisco, Buenos Aires to Winnipeg, Mexico City to Paris, and Johannesburg to Melbourne, the Yiddish art theaters were acclaimed by critics and popular with Jewish and non-Jewish spectators alike. These theaters had a significant impact on renowned theater practitioners around the world, who credited the Yiddish art theaters with inspiring their own artistic practice. In tracing how a small group of Yiddish theater artists developed a modernist theater movement with a global impact, my project provides a key and heretofore missing chapter in the history of the modern stage. I argue that the spirit of innovation that characterized the activities of the Yiddish art theaters and enabled them to become so influential was a direct product of the transnational nature of their movement. Operating in a Jewish cultural context unbounded by national borders, the success of these companies was propelled by a steady exchange of actors, directors, scenic designers, and critics across the world. Buoyed by a global audience base and unconfined by the geographical-linguistic borders that limited the national theaters of their neighbors, Yiddish theater artists were uniquely able to develop a fully transnational modernist theater practice. The global reach of the Yiddish art theaters is best exemplified by the Vilna Troupe (1915-1935), the catalyst for this movement and the primary focus of my study. The Vilna Troupe was the epicenter of the international Yiddish art theater movement throughout the interwar period. I demonstrate how the Troupe remained itinerant throughout its history, enabling it to reach an ever-larger global audience and inspiring dozens of other Jewish actors to create Yiddish art theaters of their own. Where previous generations of Yiddish actors had been subject to the double disapproval of Jewish and non-Jewish intellectuals alike, the Vilna Troupe legitimized the Yiddish art theater movement as a key contributor to the global theatrical avant-garde.Near Eastern Languages and Civilizations
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Vytrhlik, Jana. "The Journey of the Dutch Silver Rimmonim to The Great Synagogue in Sydney: The Search for Australian Jewish Visual Legacy, 1838–1878." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24541.
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Jewish ritual objects, Judaica, are significant for their symbolism and the meanings they convey through their use and art forms. The synagogue architecture can provide insights into a city’s past and reflect community’s aspirations. Mid-nineteenth-century Jewish heritage in Australia represents a rich historical and art historical field marked by a group of Judaica objects and synagogue architecture. Yet, the art history of Jewish Australia has, until now, remained an understudied subject. Inspired by a pair of exceptional and unattributed silver Torah finials (rimmonim in Hebrew) from The Great Synagogue in Sydney, this thesis investigates their provenance, and the emerging visual dimension of Jewish history in Australia. It offers a new context for understanding the role that visual expression played in the construction of Jewish identity. The thesis opens with an investigation of the rimmonim’s intricate provenance pointing to the late eighteenth-century Dutch silversmith and the Portuguese Synagogue in Amsterdam. The trail then vanishes until 1839, when Sydney’s Jewish leaders purchased the rimmonim in London. From this point on, the thesis examines the Jews' motivations to build a strong visual identity. It explores what inspired them in the design of Sydney’s two oldest synagogues – the York Street Synagogue (1844) and The Great Synagogue (1878). The Egyptian style of the York Street Synagogue sought to convey a message of ancient Israelites' independence. In contrast, the ornamented design of The Great Synagogue signified the merging of a new Jewish social conformity with the prevalent Victorian taste. Ultimately, this thesis instigates the method of documenting Jewish history in Australia through a visual-focused approach. It builds on the research of Australian historians, and moves into the mostly unexplored territory of Jewish art history in Australia.
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Velimirovic, Nada. "Reflections of the divine| Muslim, Christian and Jewish images on luster glazed ceramics in Late Medieval Iberia." Thesis, Graduate Theological Union, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10240733.
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For eight centuries, from 711 until 1492, a unique combination of political, cultural, and faith traditions coexisted in the mostly southern region of the Iberian Peninsula now called Spain. From the thirteenth century through the fifteenth century, two key production centers of luster glazed ceramics emerged in this region: Islamic-ruled Málaga and Christian-ruled Valencia. Muslim artisans using Islamic decorative motifs on reflective luster glaze ceramics created objects that patrons, including nobility and Christian royalty, clamored to collect. Initially, traditional Islamic decorative motifs dominated luster glazed ceramic production by Muslim artisans in Málaga; eventually, these artisans used combinations of Islamic and Christian motifs. As wars raged near Málaga, Muslim artisans migrated to Valencia—some converting to Christianity. Here, luster glazed ceramics evolved to include combinations of Islamic and Christian motifs, and, in one example, Islamic and Jewish motifs.
This investigation of Iberian luster glazed ceramics examines religious decorative motifs and their meaning by using a methodology that combines material culture studies and art history. Material culture studies seeks: (1) To find value and meaning in everyday objects; and (2) To introduce the understanding that visual motifs communicate in a different way than texts. Additions from art historians augment the conceptual framework: (1) Alois Riegl’s concept of Kunstwollen—that every artistic expression and artifact that is produced is a distillation of the entirety of creator’s worldview; and (2) Oleg Grabar’s definition of Islamic art as one that overpowers and transforms ethnic or geographical traditions. In this dissertation, religious decorative elements on Iberian luster glazed ceramics are categorized as: (1) Floral and vegetative motifs; (2) Geometric symbols; (3) Figurative images; (4) Christian family coats of arms; and (5) Calligraphic inscriptions.
This dissertation will demonstrate how Muslim, Christian, and Jewish artisans used and combined the visual expressions of their respective faith traditions in motifs that appear on luster glazed ceramics created in the Iberian Peninsula under both Islamic and Christian ruled territories. Investigation of objects previously deemed not worthy of scholarly attention provides a more nuanced understanding of how religious co-existence (convivencia in Spanish) was negotiated in daily life.
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Steinlauf, Eva. "The frescoes of the Dura-Europos Synagogue : multicultural traits and Jewish identity." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83151.
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This study concerns the multicultural influences which shaped the architectural form and artistic decoration of the Synagogue at Dura-Europos, an ancient city located on the west bank of the upper Euphrates in Syria (244/5 C. E.) Preserving the Jewish tradition after the destruction of the Second Temple, in a location remote from Palestine, was essential in order to maintain a strong identity in the small Jewish community of Dura, engulfed by pagan and multitheistic societies. Biblical narratives were used by the Jewish community to assert their history. In chapter 1, there appears a discussion of what scholars have said about the cultural development of Dura, how the Synagogue paintings reflect it, and how these represent a Jewish identity. In chapter 2, two scenes from the frescoes will be discussed, highlighting the various cultural influences, both foreign and local. On the other hand Rabbinic literature, including the Midrash, the Mishnah and the Mekhilta de R. Ishmael, compiled by the third century C. E., gives a textual explanation for the scenes, emphasizing the strong association that the Jews of Dura had with their roots and heritage.
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Carlin, Abigail. "Let Us Now Praise Famous Women: Deborah Kass’s The Warhol Project (1992–2000)." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243344700.
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Curi, Fabiano Andrade 1971. "Maus de Art Spiegelman : uma outra historia da Shoah." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270246.
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Orientador: Fabio Akcelrud DurãoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-13T07:42:00Z (GMT). No. of bitstreams: 1 Curi_FabianoAndrade_M.pdf: 5800196 bytes, checksum: fa1306d7a4bd82f8efed9032794645d2 (MD5) Previous issue date: 2009
Resumo: Este texto tem o objetivo de apresentar a obra Maus, de Art Spiegelman, como uma nova forma de transmissão dos traumas da Shoah. Com a proximidade do fim das gerações de sobreviventes, as atenções se voltam para produção daqueles que tiveram contato indireto com a tentativa de aniquilamento de judeus nos campos de extermínio nazistas. Nesse grupo encontra-se o autor da obra que analisamos com um livro no formato de quadrinhos absolutamente inovador não só entre os testemunhos, mas também entre os próprios quadrinhos. A composição de textos e desenhos feita por Spiegelman enfrenta as mesmas limitações de outras obras de testemunhos diretos ou indiretos ao tentar narrar o que não se narra, mas traz elementos bastante interessantes na representação artística da memória, como a adequação dos relatos ao espaço dos quadros, as feições antropomórficas dos personagens e toda a discussão sobre a obra dentro dela mesma. Além disso, Maus traz uma série de experiências nesse tipo de literatura ao justapor a história de sobrevivente de Auschwitz narrada pelo pai com a sua própria vida de filho de sobrevivente com as difíceis implicações dessa situação. Dessa forma, Spiegelman trabalha em diferentes níveis de narrativa, alternando e relacionado biografia e autobiografia.
Abstract: This text aims to present the Art Spiegelman's work, Maus as a new way of transmitting the traumas of the Shoah. With the generations of survivors coming to an end, the attention has turned to the production of the new generations, who have had indirect contact with the attempt of annihilation of Jews in the Nazi?s extermination camps. In this group, there is the author of the work that we look with a comic book format that is absolutely innovative, not only among the Shoah?s narratives, but also among the comics itself. The composition of texts and drawings made by Spiegelman faces the same limitations that other important testimonies direct or indirect have on trying to tell what cannot be told, but has very interesting elements in the artistic representation of the memory and the suitability of reporting the area of the drawings, the anthropomorphic features of the characters and the whole discussion on the work inside itself. Moreover, Maus has a lot of experiences in this type of literature when juxtapose the story of an Auschwitz survivor narrated by his father with his own life as the son of a survivor with the difficult implications of this situation. As a result, Spiegelman works in different levels of narrative, alternating and linking biography and autobiography.
Mestrado
Mestre em Teoria e História Literária
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Ingle, Gabriela Elzbieta. "The significance of dining in Late Roman and Early Christian funerary rites and tomb decoration." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25949.
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The presented thesis examines dining practices associated with ancient funerary rites, and representations of meals that decorated Roman tombs. Evidence for dining, and its significance in mortuary rites, comes from various sources: from pagan, Christian and Jewish literary examples that describe funerary and commemorative events, and archaeological material of food remains and dining installations at the cemeteries, to pictures of meals depicted on different media: cinerary urns and altars, gravestones, frescoes, mosaics and sarcophagi. The aim of this thesis is to investigate available sources, focusing mainly on pictorial representations of late Roman and early Christian dining in order to assess the purpose of decorating the tombs with convivial images. The thesis begins with a discussion of how the Roman catacombs were used by early Christians, and how they were perceived by the post-sixteenth-century explorers and researchers. As our understanding of the development of the subterranean cemeteries has changed over the past centuries, so has our view of the late ancient societies and their funerary practices. Chapter 1 investigates both written and archaeological evidence for Roman funerary meals (silicernium and novemdiale) and commemorative rites during several festivals for the dead (e.g. parentalia0or0rosalia) performed by families and members of collegia. This Chapter also presents the development of the funerary Eucharist, and discusses evidence for early Christian funerary prayer. Chapter 2 focuses on memorials decorated with diners reclining on klinai, which were intended to represent the status of the deceased. Chapter 3 discusses painted collective meal scenes represented on stibadia, which are differentiated according to their interpretation: Elysian picnic scenes, images representing status of the deceased, or refrigeria (commemorative events) held by family and collegia. This section also includes an investigation into early Christian convivial images, which portray biblical stories and refrigeria. Chapter 4 presents convivial images from the catacomb of SS. Pietro e Marcellino, which provide evidence of a group of foreigners who migrated to Rome. Chapter 5, the final chapter, presents collective meal scenes on sarcophagi, which depict mythological events and picnic scenes reflecting elite villa life style. However, a small group of early Christian examples were also designed to portray honorary meals. In conclusion, the thesis provides evidence for shared funerary practices amongst different religious communities in the Roman world. Additionally, in the majority of cases the dining scenes focus on the representations of the deceased (their status or profession) rather than any particular religious affiliation; while both pagan and Christian images of refrigeria were designed to strengthen, or substituted for, actual commemorative rites.
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Scott, Ian W. "Among God's people Palestinian Jewish symbols of community membership in the Gospel of Matthew /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Warneck, Dorothea. "Natalia Berger: „The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2020. https://slub.qucosa.de/id/qucosa%3A71019.
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Berger, Natalia: The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem [= Ben-Rafael, Eliezer/Gorny, Yosef/Liwerant, Judit Bokser (Hg.): Jewish Identities in a Changing World, Band 29], Leiden/Boston: Brill 2018, 584 S., ISBN: 978-90-04-35387-9, EUR 160,00. Besprochen von Dorothea Warneck.
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Cartus, Niels. "Olhares brasileiros judaicos: a presença do judaísmo na arte brasileira contemporânea." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-08052007-105116/.
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Olhares brasileiros judaicos: A presença do judaísmo na arte brasileira contemporânea pretende mostrar vestígios da cultura judaica na arte brasileira contemporânea. Os imigrantes judeus que chegaram ao Brasil no século XX trouxeram consigo, em sua maioria, um pensamento liberal do judaísmo que influenciou a relação com as artes plásticas dentro do judaísmo europeu. O presente trabalho parte da hipótese de que a aproximação do judaísmo e artes plásticas também teve continuidade no Brasil, uma vez que os judeus imigrantes vindos de Europa e as gerações seguintes conseguiram integrar-se com sucesso na sociedade brasileira. A questão central, portanto, é saber em que formas e conteúdos essa influência cultural se articula. É apresentada a primeira geração de artistas judeus no Brasil, que forneceu impulsos importantes para o desenvolvimento da arte moderna, tendo como pano de fundo a evolução cultural e artística do judaísmo e sua compreensão emancipada da proibição bíblica de representação de imagens. Porém, exceto por Lasar Segall, encontram-se marcas judaicas na arte brasileira apenas na segunda metade do século XX. Através da obra de quatro artistas judeus brasileiros escolhidos, cuja análise não pretende ser absolutamente completa e representativa, na parte central desta tese são constatados elementos de cultura judaica na criação artística que se fazem notar tanto sob o aspecto formal e de conteúdo quanto em posições éticas, religiosas dos artistas. Dali resulta uma forma híbrida de cultura ou identidade brasileira e judaica: olhares brasileiros judaicos. Do ponto de vista da metodologia são significativos, além das entrevistas realizadas com os artistas, os tratados científicos sob arte judaica e artistas judeus, que possibilitam uma contextualização global.Brazilian-Judeo Gazes: The presence of Judaism in contemporary Brazilian art attempts to identify vestiges of Hebrew culture in Brazilian contemporary art. Jewish immigrants to Brazil during the 20th century brought with them, largely, a liberal Jewish thinking which influenced the relationship of the plastic arts in European Judaism. This present work stems from the hypothesis that the approximation of Judaism and the plastic arts had continuity in Brazil, once the Jewish immigrants coming from Europe and subsequent generations were able to successfully integrate themselves into Brazilian society. The central question, therefore, is to know the forms and types of content this cultural influence articulated with. Within, we present the first generation of Jewish artists in Brazil who provided important impulses for the development of modern art, and which served as the underlying fabric for the Jewish cultural and artistry evolution with its emancipated understanding from the biblical prohibition on the representation of images. However, except for Lasar Segall, distinct Jewish hallmarks in Brazilian art make their appearance only at the second half of the 20-century. Through the work of four selected Brazilian-Judeo artists, whose analysis does not intend to be absolutely complete and representative, there is in the central part of this thesis, verifiable Jewish elements in the artistic creation which standout as much for their formal aspects and content as their ethical and religious positions of the artists. From there a hybrid form of the culture resulted or, Brazilian-Judeo identity: olhares brasileiros judaicos (Brazilian-Judeo Gazes). The methodological aspects of this study are significant, in addition to interviews conducted with the artists, there are scientific treatises about Jewish art and Jewish artists that allow for a global contextualization of the subject.
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Washington, Tiffany Elena. "Selling Art in the Age of Retail Expansion and Corporate Patronage: Associated American Artists and the American Art Market of the 1930s and 1940s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1349292575.
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Marcus, Alexander Warren. "Auschwitz has happened: an exploration of the past, present, and future of Jewish redemption." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,62.
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Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.
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Dascal, Elana. "Reading midrash as graphic artistic activity, the compilations of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ43850.pdf.
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Benjaminson, Eric. "The Soviet Critique of a Liberator's Art and a Poet's Outcry: Zinovii Tolkachev, Pavel Antokol'skii and the Anti-Cosmopolitan Persecutions of the Late Stalinist Period." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23907.
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This thesis investigates Stalin’s post-WW2 anti-cosmopolitan campaign by comparing the lives of two Soviet-Jewish artists. Zinovii Tolkachev was a Ukrainian artist and Pavel Antokol’skii a Moscow poetry professor. Tolkachev drew both Jewish and Socialist themes, while Antokol’skii created no Jewish motifs until his son was killed in combat and he encountered Nazi concentration camps; Tolkachev was at the liberation of Majdanek and Auschwitz. Both men were excoriated during the “anti-cosmopolitan” campaign. Using primary sources, I examine their art and the balance between Judaic and Soviet references, the accusations made and the connections between the attacks, the Holocaust, and Soviet paranoias of that era. While anti-Semitism played a role, I highlight the authorities’ reaction to their style and content. This moment in cultural policy was part of a continuum of reactions to World War II and included themes that went beyond the native anti-Semitism of the period.
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Furgang, Lynne Eva Art College of Fine Arts UNSW. "The city that never sleeps." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43556.
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This research documentation explores representations of the Holocaust in the visual arts in relation to the post-Holocaust ??ripple effect????the impact of the Holocaust on the world today, in both the wider arena of global political conflicts and in the lives of individuals. In the following chapters, I address the complex ethical and political aspects of representations of the Holocaust in the context of the evolution of Holocaust awareness and memorialisation. I also investigate recent developments in art and theory that challenge prevailing conventions governing Holocaust representation, especially how the relationship between the perceived political exploitation of the Holocaust and the intergenerational effects of Holocaust trauma is addressed. Given these are sensitive and contentious issues I discuss my studio work in terms of how trauma affects the political rather than as an overt polemically/politically motivated art. I examine my attempts to bypass controversy (maintaining respect for victims and survivors), yet maintain engagement with these issues in my art. In doing this I aim to liberate both my art and the viewer from habits of perception in regard to the subject. From this principle I propose a ??strategic?? form of self-censorship that paradoxically gives me the freedom to do this. This strategy enables me to create an art of ambiguity, which exists in an amoral zone. The art evokes reflective thought, uncertainty and ambivalence, where references to the Holocaust or political content are often not explicit, leaving room for lateral and open readings. My work, which incorporates interdisciplinary methods, is often based on photographs from a variety of sources. I also create three dimensional constructions. The sourced images and the constructions are disguised, decontextualised, cropped, erased or digitally altered, and also experiment with optical illusion. Through transformative processes these images are changed into drawings, paintings, photographs. This research documentation acknowledges the gap between the gravitas of the subject with its ethical and geo-political complexities and my idiosyncratic, subjective, introverted approach to making art. I conclude that there is potential in the exploration of an ??anxiety of representation?? in relation to the Holocaust in the contemporary context.
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Taggart, Vriean Diether. "Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3599.
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This thesis considers Esther Bubley's photographic documentation of a boarding house for Jewish workingmen and women during World War II. An examination of Bubley's photographs reveals the complexities surrounding Jewish-American identity, which included aspects of social inclusion and exclusion, a rejection of past traditions and acceptance of contemporary transitions. Bubley presented these residents, specifically the females, as modern Americans shedding the stereotypes surrounding their Jewish heritage and revealing their own perspective and reality. Through their communal support as a group sharing multiple values these residents dealt with multivalent isolation all while maintaining their participation in mainstream American cultural norms. Working for Roy Stryker in the Office of War Information, Bubley provided a missing record of a distinct community in America to be included in the larger collection of Farm Security Administration and Office of War Information photographs. These photographs provide insight into Jewish-American communities and shed light on the home front of America during World War II. Furthermore, Bubley's photographs illustrate how these Jewish-Americans reacted to World War II and reveal both the unity of a nation at war and the isolation of social exclusion in America.
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Atwood, Nan T. "Rembrandt van Rijn's Jewish Bride: Depicting Female Power in the Dutch Republic Through the Notion of Nation Building." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3236.
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Many art historians have debated the identity of the couple in Rembrandt's the Jewish Bride (1667). The painting is most often identified as an Old Testament theme. This is due to the seventeenth-century Dutch practice of using biblical "types" as ideal models for the structuring of the new republic founded on the Israelite ideology of nation building. Three of these biblical female types that have been separately associated with the female figure in the Jewish Bride are, Rebecca, Ruth, and Esther. As these biblical women represented different notions of power through their respective narratives, this thesis argues that Rembrandt deliberately left the identity of the female figure ambiguous so that all three types could be referenced by viewers. Consequently, these powerful female prototypes provided significant role models for the women of the Dutch Republic as they strived to carve out similarly strong positions for themselves in this new society.
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Bartlett, Allache Catherine. "Representations of the character of the Jew in the Nineteenth-Century French, German and English novel, and the Jewish response." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC010.
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Cette thèse examine les relations entre la littérature et la Bible à travers trois personnages mythiques qui représentent le Juif comme l’Autre, un concept à la fois effrayant et fascinant. Elle explore l’évolution des représentations des personnages juifs ainsi que leurs convergences et divergences dans le roman anglais, allemand et français du dix-neuvième siècle. Présupposant l’existence d’un inconscient collectif commun à toute l’humanité, nous avons démontré, en partie grâce à la mythocritique, que ces personnages juifs rejouent ces trois mythes, dont la présence également dans le domaine de la peinture témoigne de leur vitalité au dix-neuvième siècle. La dernière partie, consacrée à la littérature juive de l’époque en Europe constitue une réponse à ces trois mythes évoqués et met à jour un dialogue constructif entre les auteurs juifs et non juifs, ainsi qu’une introspection respectiveThis thesis examines the relations between literature and the Bible through the myth of three characters, who construct the collective of ‘the Jew’ as a dangerous and fascinating Other in the nineteenth-century European mind. It examines the evolution of the representations of these characters, and their convergences and divergences in French, English and German nineteenth-century novels. The mythocritique method, taking into account the collective unconscious, reveals that the chosen characters re-enact three major myths, which demonstrate their vitality, not only in literature and theology, but also in art. A response can be found in comparative Jewish literature to these myths, completing the study and revealing a constructive dialogue and self-examination
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Harper, Cheryl. "Changes and Context in the Role of Women in the 1960s Visual Arts Environment: A Case Study." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/199591.
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Art HistoryM.A.
This thesis examines changes in gender attitudes between the years 1962 and 1967 as seen through the activities of a group of female volunteers at a regional community center, specifically the Fine Arts committee of the Arts Council at the Young Men's and Women's Hebrew Association in Philadelphia. I demonstrate how the women were conditioned both within and outside their community to accept a subservient role to husbands and male hierarchy. By considering two of the committee's major projects, one that took place in 1962 and the other in 1967, and examining the Jewish community's primary newspaper during the same period, I compare and contrast the attitudes of the female "volunteer" in general and this specific group of more rebellious housewives whose interests were focused in the visual arts. Between the two major projects, examples of sociological theory are examined in order to follow the paradigm shift towards emerging feminism. Over a period of five years these women reassessed their role as housewives, and many eventually participated in professional life outside the home. The specific accomplishments of the Fine Arts Committee are compared, from the first major exhibition in 1962, ART 1963/A New Vocabulary to the last significant project in 1967, the Museum of Merchandise.
Temple University--Theses
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Fernandes, Luciane Bonace Lopes. "Pelos olhos da criança: concepções do universo concentracionário nos desenhos de Terezín." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-09032016-145907/.
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A presente tese tem como objetivo geral investigar, a partir de uma perspectiva sócio-histórica, 367 trabalhos artísticos produzidos por 26 crianças, nascidas entre 1926 e 1938, que estiveram confinadas no campo de concentração nazista de Terezín, na República Checa, durante a Segunda Guerra Mundial, visando levantar outras informações sobre o universo concentracionário, perdidas, esquecidas ou não tocadas pelos sobreviventes. Objetiva também investigar como contextos violentos foram assimilados por essas crianças e quais estratégias simbólicas e narrativas elas desenvolveram para tematizá-los por meio da arte. Busca estabelecer diálogo entre sua produção e as concepções estéticas e pedagógicas promovidas pela Arte Moderna, pelo Movimento Escola Nova, tendências em voga no período de pré-ocupação nazista, e por Friedl Dicker-Brandeis, professora que orientou os trabalhos no campo. Os procedimentos metodológicos adotados na realização da pesquisa foram seleção e leitura de fontes escritas e análise de fontes de outras naturezas, como entrevistas, filmes e documentários. Partimos da hipótese de que esses desenhos possuem teor e valor testemunhal, sendo um outro testemunho do Holocausto, um registro poético pautado na percepção da criança sobre os eventos e em sua forma muito particular de expressá-los. Partimos também do princípio de que esses trabalhos artísticos expressam as imagens de seus pensamentos, seus medos, lembranças, sonhos e esperanças. A análise se pautou na bibliografia de autores que se dedicaram a compreender como e por que a criança desenha, e que desenvolveram suas teorias no contexto da Arte Moderna, do Movimento Escola Nova e da contemporaneidade. A análise do corpus da pesquisa indicou a presença exígua de trabalhos com temas ligados a eventos insistentemente citados pelos sobreviventes ou registrados em seus diários. Por outro lado, indicou a existência de um grupo considerável de trabalhos pautados em memórias anteriores à guerra e de outros dois grupos que têm como tema o campo de Terezín. O primeiro apresenta formas mais simbólicas e subjetivas para figurar a experiência concentracionária, que perpassam lugares, pessoas, cenas observadas e diferentes modos de representação do campo. O segundo grupo apresenta um viés mais objetivo, representacional, ligado à transmissão da experiência assimilada prioritariamente pelo sentido da visão. Notamos também que representações do campo de Terezín não aparecem nos desenhos das crianças nascidas entre 1933 e 1938. Os resultados, de modo geral, ampliam nossa compreensão sobre os eventos e demonstram a contribuição da arte infantil para a construção de outras narrativas sobre o universo concentracionário.This thesis has as main objective to investigate, from a socio-historical perspective, 367 artworks produced by 26 children, born between 1926 and 1938, which were confined at Terezín, a Nazi concentration camp, in the Czech Republic, during the Second World War, aiming to raise other information about the concentrationary universe, lost, forgotten or not touched by the survivors. It also aims to investigate how violent contexts were assimilated by these children and what symbolic and narrative strategies they have developed to thematize it through art. Seeks to establish dialogue between its production and the aesthetic and pedagogical concepts promoted by Modern Art, the New School Movement, trends in vogue in the Nazi pre-occupation period, and by Friedl Dicker- Brandeis, teacher who had supervised the artistic work in camp. The methodological procedures used in conducting the research were selection and reading of written sources and analyzing sources of other types, such as interviews, movies and documentaries. Our hypothesis is that these drawings have testimonial content and value, being another testimony of the Holocaust, a poetic record founded on the child\'s perception of the events and in his very particular way of expressing them. Also we assume that these artworks express the images of their thoughts, their fears, memories, hopes and dreams. The analysis was guided on the literature of authors who have dedicated themselves to understand how and why the child draws, and that developed theirs theories in the context of Modern Art, the New School Movement and the contemporary. The analysis of the research corpus indicated the meager presence of works with themes related to events repeatedly cited by survivors or recorded in their daily books. On the other hand, indicated the existence of a considerable group of work guided by memories of earlier the war and other two groups which have as subject the Terezín camp. The first presents more symbolic and subjective forms to figure the concentrationary experience that underlie places, people, observed scenes and different modes of representation of the field. The latter group presents a more objective bias, representational, connected to transmission of the experiment assimilated by the sense of sight. We also note that representations of Terezín camp does not appear in the drawings of children born between 1933 and 1938. The results, in general, expand our understanding of the events and demonstrate the contribution of child art for building other narratives about the concentrationary universe.
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Benchabo-Benlolo, Bida-Guila. "Inventaire des synagogues et objets de culte de Casablanca : les vestiges d'un patrimoine en sursis." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCF017.
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Cette thèse établit l'inventaire exhaustif des synagogues de Casablanca en service, celles qui sont fermées ou encore celles disparues et dont on n'a plus de traces, ainsi que celui des objets rituels qu'elles renferment. L'implantation de ces lieux de culte constitue également une source d'informations sur la communauté juive Casablancaise et sur la mobilité de sa population entre 1911 et 2013. Casablanca, musée à ciel ouvert, a été influencée par des courants artistiques importés par l'Occident, tels que le Bauhaus, le style Art Nouveau, l'Art déco, des éléments gothiques ... associés à l'influence locale, aux courants internes au Maroc et à l'architecture coloniale. Adoptés par les familles juives de Casablanca, ces courants architecturaux vont finalement être appliqués à l'archtecture des synagogues, à leur mobilier et aux objets de culteThis thesis is an exhaustive inventory of Casablanca synagogues (based on, closed or missing) and ritual objects they contain. The etablishment of these places of worship provide also information on the jewish community of this city as well as the mobility of its population between 1911 and 2013. Casablanca, open-air museum, was influenced by artistic currents imported by colonization, such as the bauhaus, Art nouveau style, Art Déco, gothics elements ... mixed with local influence and architecture imported from the other cities of Morocco, as well as colonial architecture. Those architectural movements will penetrate private houses including jewish families of Casablanca to finally get into the synagogues and influence their architecture, furniture and liturgical objects
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Altomonte, Jenna A. "The Postmemory Paradigm: Christian Boltanski's Second-Generation Archive." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244047774.
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Abosch, Sara. ""We are not only English Jews - we are Jewish Englishmen" : the making of an Anglo-Jewish identity, 1840-1880 /." Ann Arbor, Mich., : University Microfilms, 2004. http://wwwlib.umi.com/dissertations/preview/3125685.
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Popescu, Diana. "Perceptions of Holocaust memory : a comparative study of public reactions to art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s)." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367397/.
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This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. Created by the inheritors of Holocaust memory, second and third-generation Jews in Israel and America, the artworks titled Your Colouring Book (1997) and Live and Die as Eva Braun (1998), and the group exhibition Mirroring Evil. Nazi Imagery/Recent Art (2002) were hosted at art institutions emblematic of Jewish culture, namely the Israel Museum in Jerusalem, and the Jewish Museum in New York. Unlike artistic representation by first generation, which tends to adopt an empathetic approach by scrutinizing experiences of Jewish victimhood, these artworks foreground images of the Nazi perpetrators, and thus represent a distancing and defamiliarizing approach which triggered intense media discussions in each case. The public debates triggered by these exhibitions shall constitute the domain for analyzing the emergent counter-positions on Holocaust memory of post-war generations of Jews and for delineating their ideological views and divergent identity stances vis-à-vis Holocaust memory. This thesis proposes a critical discourse analysis of public debates carried out by leading Jewish intellectuals, politicians and public figures in Israel and in America. It suggests that younger generations developed a global discourse which challenges a dominant meta-narrative of Jewish identity that holds victimization and a sacred dimension of the Holocaust as its fundamental tenets.
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Constant, Julie. ""Souviens-toi de ton futur ". Les artistes rescapés des camps nazis et la réception de leurs oeuvres de témoignage et de mémoire en France après 1945." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30065.
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La thèse propose d’éclairer les trajectoires et les œuvres d’artistes survivants des camps nazis, français ou installés en France après la guerre, leur tentative de transmettre l’expérience de la déportation et du génocide ou au contraire leur volonté de fuir ces thématiques, les langages plastiques et l’iconographie empruntés, les déclencheurs mémoriels et les éventuelles mutations des choix de chacun pour témoigner, représenter, remémorer durant cinquante ans. Quelques rares artistes ont eu l’opportunité de créer in situ : nous étudions également les motivations, les conditions de création et les spécificités de ces dessins des camps. Après 1945, entre mémoire, révolte et résilience, les artistes de ce corpus, déportés pour faits de résistance ou au titre des persécutions et de la mise en œuvre de la solution finale, ont dû mener une lutte intérieure contre les douloureuses réminiscences des camps et parfois un combat militant pour diffuser leur message face aux offensives antisémites et négationnistes. La complexité de la transfiguration en termes plastiques du traumatisme a suscité doutes et réflexions : transmettre sans trahir, témoigner sans renoncer à l’art. Les peintres, sculpteurs et graveurs de ce corpus n’ont en en effet jamais cessé de se définir prioritairement comme des artistes : l’essence et la portée universelle de la création, ainsi que les références tutélaires de l’histoire de l’art ont épaulé les artistes dans ce processus cathartique. Si les cadavres, corps anonymes et suppliciés, peuplent l’univers visuel de l’après-guerre, les artistes rescapés convoquent les disparus et réinsufflent chair et individualité aux êtres aimés, figurés souffrants, combattants ou tendres, mais dignes et debout. Notre objet d’étude se concentre également sur les modalités et les formes évolutives de la rencontre entre ces œuvres liées à la mémoire de la déportation et la France, de l’après-guerre aux commémorations du cinquantième anniversaire de la libération des camps : la diffusion auprès du public français à l’occasion d’expositions individuelles, collectives ou de salons ; la communication autour de ces problématiques dans les catalogues, les cartons d’expositions et les publications ; la réception des œuvres à travers la presse, les acquisitions publiques et les décorations honorifiques, ainsi que l’accueil spécifique des associations de déportés et de la communauté juive avec notamment la création du premier Musée d’art juif françaisThe thesis attempts to shed light on French artists and artists who lived in France after the war after surviving the Nazi camps, and the life they lead after the camps and their work. It also looks at their efforts to pass on their experience of the deportation and the genocide, or on the other hand their desire to flee the themes, esthetic language and the iconography used. The triggers to the memory and the eventual mutation of choices by each person to be witness, to represent, to recollect during fifty years will also be addressed. A few rare artists had the opportunity to create in situ: we will also study the motivation, the conditions of creation and the particularities of the drawings in the camps. After 1945, between memory, revolt and resilience, the artists of this group, deported for their activities in the resistance or due to persecution and the installation of the final solution, had to lead an interior struggle against the painful reminiscences of the camps and sometimes an activist’s fight to spread their message in opposition to anti-Semite attacks and Holocaust deniers. The complexity of the transfiguration in terms of visual representations of trauma brought up doubts and reflections: transmitting without betraying, witnessing without giving up art. The painters, sculptors and engravers of this group have never really stopped defining themselves mainly as artists: the essence and the universal scope of creation, as well as the custodians of art history having placed this cathartic process on the shoulders of the artists. If the corpses, the anonymous and tortured bodies, inhabit the visual universe after the war, the artists that escaped, summoned those that disappeared and gave flesh and individuality to loved ones, represented as suffering, fighting or tender, but dignified and standing. The study also concentrates on the terms and changing forms of the reception in France of the works linked to the memory of the deportation, post-war to the fiftieth anniversary of the liberation of the camps: the distribution to the French public via individual or group exhibitions and art fairs ; the promotion concerning these issues in the literature about the exhibitions and the artists ; the press reactions, the public acquisitions and the public decorations, including the specific reception by the associations of those deported and the Jewish community especially with the creation of the French Jewish art museum
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Deibel, Danielle Marie. "The Piazza della Signoria: The Visualization of Political Discourse through Sculpture." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent149298059548259.
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Kunze, Hans Henning. "Restitution "entarteter Kunst" : Sachenrecht und internationales Privatrecht /." Berlin [u.a.] : de Gruyter, 2000. http://www.gbv.de/dms/sbb-berlin/319367886.pdf.
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