Relevant bibliographies by topics / Jews in art

Academic literature on the topic 'Jews in art'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Jews in art"

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Debby, Nirit Ben-Aryeh. "Jews in Art and Society." Ars Judaica: The Bar Ilan Journal of Jewish Art 14 (May 2018): 131–33. http://dx.doi.org/10.3828/aj.2018.14.10.

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Wharton, Annabel Jane. "Jewish Art, Jewish art." IMAGES 1, no. 1 (2007): 29–35. http://dx.doi.org/10.1163/187180007782347584.

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AbstractAs the Jews have always produced art, the question arises, why is the notion of a Jewish Art so problematic? No effort is made in this paper to review or summarize the arguments for or against "Jewish Art." Rather, it attempts a modest shift in the terms of the debate. The essay addresses the question by considering the historiography of Jewish art in relation to both the End-of-Art debates and the Holocaust industry.This paper offers a provisional answer to the question: Why has Jewish art never managed to become Jewish Art? The End of Art debate conditions the discussion; the institutions of Jewish art provide its substance.
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Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (December 2, 2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.

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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.
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Qambarov, Abdumutal Ahadjonovich, and Mavluda Mamasodikovna Najmetdinova. "The Role Of Bukhara Jews In The Development Of Natiaonal Makom Art." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 747–53. http://dx.doi.org/10.37547/tajssei/volume03issue04-120.

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This article analyzes from a scientific and philosophical point of view that the Jews of Bukhara, along with the Uzbek makoms, have made a worthy contribution to the development of Shashmakom to this day through the work of masters of their profession, hafiz, musicians and composers.
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Debby, Nirit Ben-Aryeh. "Art and Sermons: Dominicans and the Jews in Florence’s Santa Maria Novella." Church History and Religious Culture 92, no. 2-3 (2012): 171–200. http://dx.doi.org/10.1163/18712428-09220001.

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This paper analyzes perceptions of the Jews by the Dominican friars in latemedieval Florence and focuses on the encounter between the Christian and Jewish worlds as manifested in Santa Maria Novella church in the oral and visual traditions. The intention is to examine the representations of Jews in a particular context, that of an Italian urban society in the late fourteenth century, especially in the context of mendicant activity, by studying both preaching and art in that context.The article shows the similarities and differences between the visual and the verbal in relation to the different media discussed, and analyzes the complexity of the Dominican perception of the Jews.
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Lurie, Yuval. "Jews as a Metaphysical Species." Philosophy 64, no. 249 (July 1989): 323–47. http://dx.doi.org/10.1017/s0031819100044697.

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There are certain remarks in Culture and Value in which Wittgenstein writes about Jews and about what he describes as their ‘Jewish mind’. In these remarks he appears to be trying to make a distinction between two different spiritual forces which operate in Western culture and which give rise to two different types of artists and works of art. On one side of the divide are Jews and works of art imbued with Jewish spirit. On the other side are men of culture and works of art which exhibit a non-Jewish spirit. Among the various remarks made in this context, he offers the following thoughts about the spiritual nature of Jews, their mentality, character and artistic achievements:‘You get tragedy when a tree, instead of bending, breaks. Tragedy is something un-Jewish’ (1). Following Renan he writes: ‘The Semitic races have an unpoetic mentality, which heads straight for what is concrete’ (6). This, he explains, is because Jews are attracted by ‘pure intellectualism’. ‘I think it would be possible now to have a form of theatre played in masks. The characters would simply be stylized human types.’ (In his opinion this suits Karl Kraus's plays and their abstract nature.) ‘Masked theatre is anyway the expression of an intellectualistic character. And for the same reason perhaps it is a theatrical form that will attract only Jews’ (12). ‘The Jew is a desert region, but underneath its thin layer of rock lies the molten lava of spirit and intellect’ (13). ‘It is typical for a Jewish mind to understand somebody else's work better than that person understands it himself.’ But intellect, it seems, is not a mental attribute providing for genius and true creative powers. ‘Amongst Jews “genius” is found only in the holy man. Even the greatest of Jewish thinkers is no more than talented. (Myself, for instance.) … It might be said (rightly or wrongly) that the Jewish mind does not have the power to produce even the tiniest flower or blade of grass; its way is rather to make a drawing of the flower or blade of grass which has grown in the soil of another's mind and to put it into a comprehensive picture. We aren't pointing to a fault when we say this and everything is all right as long as what is being done is quite clear. It is only when the nature of a Jewish work is confused with that of a non-Jewish work that there is any danger, especially when the author of the Jewish work falls into the confusion himself, as he so easily may. (Doesn't he look as proud as though he had produced the milk himself?)’ (18–19).
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Joselit, Jenna Weissman. "Bezalel Comes to Town: American Jews and Art." Jewish Studies Quarterly 11, no. 4 (2004): 354. http://dx.doi.org/10.1628/094457004783500536.

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Zahariuc, Petronel. "O fila din istoria evreilor din Iasi de la sfarsitul secolului al XVIII-lea – inceputul secolului al XIX-lea." Banatica 1, no. 33 (2023): 393–409. http://dx.doi.org/10.56177/banatica.33.1.2023.art.21.

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The history of Jews in Moldavia during the 18th century and the first two decades of the 19th one is a major researching subject in writing the general history of the country, in the absence of which we couldn’t understand the Romanian society modernizing. Even if many studies were written and many tomes of papers were published, aspects less analyzed and unpublished documents still exist. The present article brings some completitions regarding both the relation between the Jewish community (Jewish Guild) Iaşi and statal authority, as reflected in the annual tax the community had to pay and the examption they were given, and to relation between native Jews and the Sudit Jews (Austrian or Russian foreign subjects), as revealed by the dispute concernig tax on kosher meat.
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Cześniak-Zielińska, Magdalena. "Remarks on the Jewish Art Colony in Kazimierz Dolny." Studia Żydowskie. Almanach 3, no. 3 (December 31, 2013): 28–37. http://dx.doi.org/10.56583/sz.555.

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Kazimierz Dolny (Kuzmir) was visited and painted by many artists. Before 1914, and during the interwar period, there had been a lot of Jews among the artists, and the art colo-ny of Kazimierz Dolny became one of the most important and popular places among them. However, there never was anything like a strictly Jewish artistic colony or Jewish artistic community in Kazimierz Dolny and there never was exactly a Polish colony. So, it is easier to speak about artists-Jews in Kazimierz Dolny’s artistic colony or Kazimierz Dolny’s artis-tic circle than about a “national” or “ethnic” colony. The boundaries among particular groups were flexible and it was not the nationality that defined those boundaries.
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Silverman, Lisa. "Leopoldstadt, Judenplatz, and Beyond." East Central Europe 42, no. 2-3 (January 20, 2015): 249–67. http://dx.doi.org/10.1163/18763308-04202004.

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Discussions of Jews’ relationship to Vienna before 1938 tend to focus on their consumption of Viennese culture, including music, art, literature, and intellectual innovation. However, understanding place as a formative aspect of material culture can help us see another crucial aspect of how Jews—individually and collectively—came to terms with their place in the city. This essay examines the significance of place for Jews in Vienna through a variety of primary sources related to the Judenplatz, the square which is today the city’s premier site of Jewish memory, and Leopoldstadt, the district that encompasses Vienna’s most densely populated Jewish residential area. Memoirs, newspaper articles, caricatures, and maps written by both Jews and non-Jews reveal how the significance of these two areas changed over time, as they became deeply intertwined with the self-perceptions of both Jews and non-Jews. Analyzing how the Judenplatz and Leopoldstadt engaged Jewish difference over time helps us understand how the presence or absence of Jews remained a persistent dialectic in determining the meaning of place in Vienna.
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Dissertations / Theses on the topic "Jews in art"

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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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Swarts, Lynne Michelle Art History &amp Art Education College of Fine Arts UNSW. "Resistance, Regeneration and the Figuring of the 'New Jew': Ephraim Moses Lilien and 'Muscular Jewry'." Publisher:University of New South Wales. Art History & Art Education, 2007. http://handle.unsw.edu.au/1959.4/44089.

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This thesis embraces a cross-disciplinary approach to the examination of Jewish body culture, and integrates aspects of Jewish studies with new theories of gender and visual culture, thus contributing specifically to the field of Jewish body culture in relation to the visual arts. It demonstrates that at the fin de si??cle the Zionist artist, Ephraim Moses Lilien, integrated Nordau's concept of 'Muscular Jewry' and Buber's notion of a 'Jewish Cultural Renaissance' in order to figure the 'New Jew'. It establishes that Lilien's figuring of 'Muscular Jewry' as a visibly athletic, explicitly heterosexual, male body, bearing Jewish distinction, was developed as a crucial strategy to overcoming the twin dilemmas of Jewish alterity: antisemitism and assimilation. By proving that Lilien's art serves as a crucial model for both regenerating the Jewish male body and resisting antisemitic projections of decadence and degeneracy, this thesis expands upon current scholarship. It applies Margaret Olin's theory of ' visual redemption' to Lilien's figuring of the 'New Jew' and Daniel Boyarin's articulation of Homi Bhaba's Post-Colonial theory of mimicry as imitation, inversion and resistance to determine how Lilien's images functioned as an art of resistance against the dominant Christian European culture. By demonstrating how Lilien drew upon the modern and rebellious Jugendstil to figure the 'New Jew' and produce a new, defiant and authentic Jewish visual culture, this thesis proves he transformed the image of the diaspora Jew into the New Hebrew or Israeli tsabar, forty years before it became part of Israeli identity. Nevertheless, this thesis also uncovers the double-binded predicament inherent to Lilien's quest; despite his attempt to use mimicry of the athleticised, hyper-masculine, genetically pure, normative body as a strategy to resist antisemitic rhetoric and invert its projection, the closest parallel to Lilien's figure of 'Muscular Jewry' remained this same image which became instrumental to eugenic campaigns across Europe, particularly in Nazi Germany. Ultimately what is exposed by this thesis is the illusion underpinning Lilien's figuring of the 'New Jew'; that the Christianised Eurocentric body culture, designed to eradicate decadence, degeneration and Semitism, could resolve the problematic struggle for a Jewish national identity.
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Grodzinski, Veronika. "French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.

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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.
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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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Enderlein, Angelika Graetz Robert. "Der Berliner Kunsthandel in der Weimarer Republik und im NS-Staat : zum Schicksal der Sammlung Graetz /." Berlin : Akad.-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2838732&prov=M&dok_var=1&dok_ext=htm.

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Terjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.

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Milson, David. "Aspects of the impact of Christian art and architecture on synagogues in Byzantine Palestine." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:17261fb5-fbfb-4417-90a3-f0d01673f262.

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This thesis examines the relationship between Jews and Christians in the Holy Land from the age of Constantine the Great to the conquest of the eastern provinces by the Arabs from an archaeological viewpoint. At stake is a better understanding of how Jews adapted to changing times, particularly during the rise of Christianity in Palestine. Whereas earlier scholars have viewed the growth of the Byzantine empire as time of persecution toward the Jews, a re-evaluation of the archaeological evidence indicates that Jews prospered along with their Christian neighbors. In scope, this dissertation aims first to re-evaluate how many ancient building remains can be classified as synagogues, and how many of those can be accurately dated. For only after a solid body of archaeological research is firmly established can further progress be made toward our better understanding of the ancient world. Diversity in contemporaneous synagogue layouts, rather than a linear development throughout this period is the norm. Yet, in the sixth-century, one-third of all known synagogues in Palestine bear similar features to early Byzantine churches: basilical layouts, mosaic floors, apses, and chancel screens. Since no single fourth-century synagogue had an apse or chancel screen in its repertoire of furnishings, a reform must have taken place, which ultimately enhanced the synagogue. It has long been held that this change had originated under the influence of the growing Christian population in the Holy Land. Examining the nature of early Christian liturgical practice throws light on these changes to synagogues. For the focal point of the early Christian basilica, the altar in the sanctuary, separated from the hall by a chancel screen, was adapted by these Jewish communities. By placing the Torah Shrine in the apse of synagogues, the sacred nature of the Five Books of Moses was glorified. In focusing on the apse and niche it is suggested that rather than a positive influence toward the Jews, the deeply-rooted rivalry between Christianity and Judaism was the main implement for change. Jewish leaders built synagogues with apses and chancel screens to amplify and venerate the most important object in the hall - the Torah Scrolls - kept in the Torah Ark. Unlike earlier buildings, the Torah Shrine was set in the same position as the altar in churches, in the apse. Renovating interiors, changes to entrances, and new types of furnishings in synagogues were the physical changes to this institution which reflect the impact of Christian art on synagogues.
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Gelman, Sadie. "This Unleavened Bread: Matzot as an Insight into Iberian History, Culture, and Power Dynamics." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1528378046788798.

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Nowara, Malgorzata T. "La sécession dans l'architecture à Cracovie, 1897-1914: un costume national, moderne et européen." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210725.

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La Sécession dans l’architecture à Cracovie (1897-1914) Un costume national, moderne et européen

A la fin du XIXe et au début du XXe siècle, l’Art nouveau envahit la majeure partie de l’Europe. Dans chaque pays, ce mouvement artistique prit des appellations et des physionomies différentes. Mélangé souvent aux traditions locales, ce style international développa un langage original jusqu’à devenir parfois synonyme de style national, revêtant selon le cas un costume national, moderne et européen.

Dans ce contexte international et de promotion de l’identité nationale, le cas très particulier de la Pologne est révélateur, puisqu’elle avait disparue des cartes de l’Europe et était partagée entre trois puissances :la Prusse, la Russie et l’Autriche. Pourtant si l’Etat polonais n’existait plus, la nation n’a jamais cessé d’exister à travers la culture et la religion. A ce titre l’étude de l’architecture de Cracovie, - ancienne capitale de la Pologne, sous occupation austro-hongroise, en Galicie - est significative.

A Cracovie, le style sécessionniste - expression utilisée dans l’Empire austro-hongrois et repris pour l’ensemble de la Pologne - influença le développement de tous les arts. Cependant de nos jours, ces traces sont surtout visibles sur les façades des édifices. De ce fait, notre analyse s’est limitée aux différents costumes sécessionnistes décoratifs dans l’architecture de Cracovie, pendant la période de la Sécession, c’est-à-dire de 1897 à 1914, dans huit quartiers, les plus anciens de la ville.

Au tournant du siècle, Cracovie devint très vite le berceau du mouvement sécessionniste en Pologne, le centre de la modernité, une ville européenne novatrice dans tous les domaines artistiques. Lieu de naissance de la « Jeune Pologne », les premières innovations apparurent grâce à de nombreuses personnalités artistiques marquantes, d’abord en peinture, ensuite en littérature et dans les arts plastiques, enfin en architecture.

La Sécession a laissé une quantité impressionnante de traces dans l’architecture cracovienne, décorant les plus importants monuments de tous les quartiers, s’illustrant dans les immeubles à appartements privés et laissant derrière elle également quelques chefs-d’œuvre.

Le premier chapitre intitulé « La ville de Cracovie », brosse un aperçu du cadre général. Il vise à préciser dans ses grandes lignes le caractère spécifique de la tradition culturelle polonaise à Cracovie.

Le deuxième chapitre « La Sécession et la ville de Cracovie » intègre le rapport de la Sécession à l’intérieur de la ville et ce sous différents angles de vue. C’est doté de cet héritage que les écrivains, les artistes, les architectes et les constructeurs de la fin du siècle vécurent la crise qui remettait en question la fonction et le sens de leur activité par rapport à leur identité nationale. Leur dilemme est illustré par les plus grandes figures de la littérature et des arts plastiques. Nous avons pu mettre en évidence leur difficile tâche d’adaptation de cet héritage culturel, chacun à sa manière, aux problèmes liés aux nouvelles tendances modernes.

Le troisième chapitre intitulé « La Sécession dans l’architecture » constitue le cœur de notre thèse. Il est une analyse rétrospective du système sécessionniste dans l’architecture à Cracovie, accompagné d’un inventaire détaillé de la Sécession dans l’architecture de la ville. Il intègre ensuite ce thème dans le contexte national et le compare avec la situation dans d’autres métropoles européennes.

Le quatrième chapitre, « La Sécession dans les rues de la ville » donne de la perspective à notre inventaire en intégrant la Sécession dans le paysage urbain.

Le cinquième chapitre « L’Homme et la Sécession » s’intéresse à l’interaction entre l’homme et la Sécession et mettra en évidence les propriétaires, les commanditaires, les architectes et les constructeurs.

Enfin, le sixième chapitre intitulé « La Sécession et les juifs de Cracovie » met en relation l’apparition du nouveau style avec une partie de la population polonaise, les juifs de la ville.

De nos jours, il est difficile d’avoir une vue d’ensemble de l’intégration de la Sécession sur les territoires polonais sous occupation au tournant du XIXe et du XXe siècle et dans une plus large mesure en Europe. Il est cependant indéniable qu’elle fit sa première apparition à Cracovie et qu’elle y a marqué de son empreinte une quantité considérable de constructions, avant de s’étendre sur les territoires polonais sous occupation, et prétendre être le berceau de la Sécession en Pologne.

A la différence des autres pays européens, la Sécession cracovienne ne fut pas fondée sur des principes théoriques, sur un programme, résultant de l’évolution socio-historique du pays dont la situation était des plus complexes. En effet, elle a subi l’influence de différents courants européens, surtout de la Sécession viennoise, en revêtant différents costumes :national, moderne et européen.

Résultat de la convergence de facteurs culturels, politiques, économiques, sociaux, démographiques et esthétiques, Cracovie fin de siècle fut un lieu d’expérimentation et constitue encore aujourd’hui, le foyer vivant de cette dynamique culturelle et artistique née à la fin du XIXe siècle.

Si durant l’histoire, la Sécession dans l’architecture de Cracovie n’a pas toujours été appréciée à sa juste valeur, de nos jours un regain d’intérêt se fait sentir notamment par de nouvelles restaurations.

A présent, il est possible de cerner l’ampleur du phénomène sécessionniste à Cracovie. Une analyse de la présence du style dans tous les quartiers de la ville, ainsi que des constructions détruites, est nécessaire afin de mettre en évidence la véritable diffusion du nouveau style dans la ville au tournant du XIXe et du XXe siècle.

La présente thèse constitue un premier pas dans la compréhension du phénomène. Les résultats des travaux en cours au niveau européen permettront d’intégrer davantage la Sécession cracovienne dans un contexte international et de tisser des liens éventuels entre les différents foyers artistiques.


Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

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Books on the topic "Jews in art"

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1947-, Silver Larry, Spira Freyda, Bellow Juliet, and Arthur Ross Gallery, eds. Transformation: Jews and modernity. Philadelphia, PA: Arthur Ross Gallery, 2001.

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Karajev, Faradj. Jews in Azerbaijan culture and art. Baku: [s.n.], 2008.

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1943-, Karajev Faradj, and Azärbaycan Türkiyä İş Adamları Birliyi., eds. Jews in Azerbaijan culture and art. Baku: [s.n.], 2008.

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Heyd, Milly. Mutual reflections: Jews and Blacks in American art. New Brunswick, N.J: Rutgers University Press, 1999.

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1962-, Mirzoeff Nicholas, ed. Diaspora and visual culture: Representing Africans and Jews. London: Routledge, 2000.

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R, Keller Sharon, ed. The Jews: A treasury of art and literature. [S.l.]: Beaux Arts Editions, 1992.

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missing], [name. Saracens, demons, and Jews: Making monsters in Medieval art. Princeton, NJ: Princeton University Press, 2003.

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Vivienne, Woolf, ed. Capturing memories: The art of reminiscing. London: Vallentine Mitchell, 2002.

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B, Mann Vivian, Burke Marcus B, and Museum of Biblical Art, eds. Uneasy communion: Jews, Christians & altarpieces in medieval Spain. New York: Museum of Biblical Art, 2010.

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Barbara, Kirshenblatt-Gimblett, and Karp Jonathan 1960-, eds. The art of being Jewish in modern times. Philadelphia: University of Pennsylvania Press, 2008.

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Book chapters on the topic "Jews in art"

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Lerner, Loren, and Suzanne Rackover. "25. Jews in Canadian Art." In Canada's Jews, edited by Ira Robinson, 422–50. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618110275-026.

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Davidson, Lawrence. "Israel, Zionism, and the Jews." In Essays Reflecting the Art of Political and Social Analysis, 161–207. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98005-8_6.

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Berkowitz, Michael. "The Art Market in Photography: Modernity, Jews, and Wiedergutmachung?" In Jewish Consumer Cultures in Nineteenth and Twentieth-Century Europe and North America, 253–72. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-88960-9_10.

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Levine, Lee I. "The Appearance of Jewish Figural Art." In The Routledge Handbook of Jews and Judaism in Late Antiquity, 338–50. London: Routledge, 2023. http://dx.doi.org/10.4324/9781315280974-27.

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Houze, Rebecca. "5 Emilie Bach: Education Reformer, Critic, and Art Embroiderer in the Era of Franz Joseph I." In Design Dialogue: Jews, Culture and Viennese Modernism, 111–28. Köln: Böhlau Verlag, 2018. http://dx.doi.org/10.7788/9783205208501.111.

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Lozanova, Sasha S., and Stela B. Tasheva. "Decorations of Printed Books of Balkan Jews (16th–18th c.)." In Уметност и наука у примени: искуство и визија = Art and Science Applied: Experience and Vision, 59–69. Београд: Универзитет уметности у Београду, Факултет примењених уметности, 2022. http://dx.doi.org/10.18485/smartart.2022.2.ch3.

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Haastrup, Ulla. "Representations of Jews in Danish medieval art—can images be used as source material on their own?" In Medieval Texts and Cultures of Northern Europe, 341–56. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.tcne-eb.3.2025.

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Fridén, Bertil. "The Jews are Citizens." In Rousseau’s Economic Philosophy, 123–35. Dordrecht: Springer Netherlands, 1998. http://dx.doi.org/10.1007/978-94-011-5294-5_9.

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Levi, Neil. "Jews, Art, and History." In Modernist Form and the Myth of Jewification, 50–89. Fordham University Press, 2013. http://dx.doi.org/10.5422/fordham/9780823255061.003.0003.

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"Constructing Identity Through Art: Jewish Art As A Minority Culture In Byzantium." In Jews in Byzantium, 399–454. BRILL, 2012. http://dx.doi.org/10.1163/ej.9789004203556.i-1010.60.

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Conference papers on the topic "Jews in art"

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Eber, Dena Elisabeth. "These are some Jews that Hitler did not get." In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280120.1280130.

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Fidalgo Rodríguez, Guillermo. "New Trigger Studies for Emerging Jets at CMS Experiment." In New Trigger Studies for Emerging Jets at CMS Experiment. US DOE, 2023. http://dx.doi.org/10.2172/1988436.

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CERNOGORA, G., L. HOCHARD, M. DUDECK, P. LASGORCEIX, and V. LAGO. "Vibrational temperatures measurements in arc jets." In 24th Plasma Dynamics, and Lasers Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1993. http://dx.doi.org/10.2514/6.1993-3229.

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Medvedev, Mikhail V., Sriharsha Pothapragada, Sarah Reynolds, J. E. McEnery, J. L. Racusin, and N. Gehrels. "Are GRB jets baryonic∕leptonic or magnetic?" In GAMMA RAY BURSTS 2010. AIP, 2011. http://dx.doi.org/10.1063/1.3621742.

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Luque-Escamilla, Pedro, and Josep Martí. "Are jets in GRS 1758-258 precessing?" In High Energy Phenomena in Relativistic Outflows VII. Trieste, Italy: Sissa Medialab, 2020. http://dx.doi.org/10.22323/1.354.0096.

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Hoche, Stefan. "From partons to jets and back Simulating QCD interactions at highest energies." In From partons to jets and back Simulating QCD interactions at highest energies. US DOE, 2023. http://dx.doi.org/10.2172/2204642.

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SHEPARD, CHARLES, FRANK MILOS, and JASWINDER TAUNK. "A sonic flow equation for electric arc jets." In 24th Plasma Dynamics, and Lasers Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1993. http://dx.doi.org/10.2514/6.1993-3183.

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Sikora, Marek. "Are Quasar Jets Matter or Poynting Flux Dominated?" In ASTROPHYSICAL SOURCES OF HIGH ENERGY PARTICLES AND RADIATION. AIP, 2005. http://dx.doi.org/10.1063/1.2141855.

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Foss, Gregory, and Anjana Kar. "Formation of accretion disks and jets around black holes." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253977.

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Prabhu, Dinesh, David Saunders, Tomomi Oishi, Kristina Skokova, Jose Santos, Johnny Fu, Imelda Terrazas-Salinas, Julio Carballo, and David Driver. "CFD Analysis Framework for Arc-Heated Flowfields I: Stagnation Testing in Arc-Jets at NASA ARC." In 41st AIAA Thermophysics Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2009. http://dx.doi.org/10.2514/6.2009-4080.

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Reports on the topic "Jews in art"

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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), April 2023. http://dx.doi.org/10.55271/rp0037.

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My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
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Kenes, Bulent. Richard B. Spencer: The founder of alt-right presents racism in a chic new outfit. European Center for Populism Studies (ECPS), June 2021. http://dx.doi.org/10.55271/lp0010.

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Richard Bertrand Spencer is a well-groomed, well-educated advocate for the creation of a “white ethno-state” in North America for a “dispossessed white race.” He has also called for “peaceful ethnic cleansing” to halt the “deconstruction” of what he describes as “white culture” and to achieve a “white homeland.” Spencer has become the most recognizable public face of the white supremacist and nationalist movements. As an ardent white supremacist and ethnonationalist, Spencer says America belongs to white people, who he claims have higher average IQs than Hispanics and African Americans, and that the latter are genetically predisposed to crime. In Spencer’s “America,” Asians, Muslims, and Jews don’t qualify as “white” either.
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Sikora, M. Are Quasar Jets Dominated by Poynting Flux? Office of Scientific and Technical Information (OSTI), February 2005. http://dx.doi.org/10.2172/839767.

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Jeffries, Jay B. Optical Diagnostics of Diamond CVD in DC Arc-Jets. Fort Belvoir, VA: Defense Technical Information Center, March 1993. http://dx.doi.org/10.21236/ada267478.

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Wibowo, Johannes, and Jamie López-Soto. Field Jet Erosion Tests on Benbrook Dam, Texas. Engineer Research and Development Center (U.S.), December 2021. http://dx.doi.org/10.21079/11681/42545.

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This report summarizes the results of eight field Jet Erosion Tests (JETs) performed on Benbrook Dam, TX. The results from these tests will be used by the U.S. Army Corps of Engineers, Fort Worth District, in assessments of the erosion resistance of the Benbrook Dam with regards to possible overtopping by extreme flooding. The JETs were performed at four different locations, i.e., two locations at the lowest crest elevation and two locations at the mid-slope face of the downstream embankment. Variations in estimated critical hydraulic shear stress and erosion rate values may have been caused by differences in soil composition, i.e., when the material changed from silt/sand to clay. The resulting values of the Erodibility Coefficient, Kd, and Critical Stress, τc, are very useful information in assessing the stability of Benbrook Dam during an overtopping event. Because of the observed natural variability of the materials, combining the erosion parameters presented in this report with the drilling logs and local geology will be imperative for assessing erosion-related failure modes of Benbrook Dam.
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Gladstone, Nat, Kathleen Mooney, and Julie Pierce. FSA Response to Public Body Reviews 2022-23. Food Standards Agency, June 2023. http://dx.doi.org/10.46756/sci.fsa.fjb694.

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The FSA’s Scientific Advisory Committees (SACs) are non-statutory and advisory non-departmental public bodies (ANDPBs) or Departmental Expert Committees (DECs) which are subject to review under the Cabinet Office’s ‘Guidance for the Review of Public Bodies’. In August 2022, the FSA set out the intention to review all 8 SACs per the guidelines, including an independent review of the Science Council (SC) and Advisory Committee for Social Sciences (ACSS). The FSA has completed an internal review of three of its SACs, and one review encompassing all three Joint Expert Groups (JEGs). The FSA commissioned external experts to undertake the independent review and the report and recommendations were submitted at the end of March 2023. The purpose of these reviews is to provide assurance to the FSA, and its stakeholders, that the SACs and JEGs roles and purposes are appropriate in addressing the future needs of the FSA, consumers and wider government, and that the bodies are operating effectively and efficiently. The SC and ACSS were the only two SACs submitted to Independent Review due to this being the first review cycle since they were commissioned in 2017.
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Титаренко, Д. М. Геноцид єврейського населення на Донеччині під час нацистської окупації: деякі дискусійні аспекти проблеми. ДонНУ, 2008. http://dx.doi.org/10.31812/123456789/6496.

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В статье освещены дискуссионные аспекты уничтожения еврейского населения на территории Донецкой области в период нацистской оккупации. Исследование базируется на материалах украинских и российских государственных архивов, архива управления Службы безопасности Украины в Донецкой области, федеральных архивов Германии, воспоминаниях очевидцев. В работе рассматриваются проблемы статистики числа жертв, ответственности вермахта за геноцид, основания и функционирования гетто в Сталино (Юзовке), реакции местного населения на геноцид, содержания антисемитской пропаганды. The article is aimed at characterizing the peculiarities, the most controversial aspects of the destruction of the Jews in the Donets’k oblast during the Nazi occupation. The investigation is based on the materials of the Ukrainian central and oblast’s state archives, the archives of the Security Service of Ukraine (SBU) in Donets’k oblast, the Federal archives of Germany, the state archives of Russian Federation as well as the recollections by eyewitnesses. The problems of the statistics of the sacrifices, the responsibility of the Wehrmacht for the genocide, the conditions of the establishment and functioning of ghetto in Stalino (Iuzivka), the reaction of the local population to the genocide, the essence of the anti-Semitic propaganda are emphasized.
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Zilberman, Mark. “Doppler de-boosting” and the observation of “Standard candles” in cosmology. Intellectual Archive, July 2021. http://dx.doi.org/10.32370/iaj.2549.

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“Doppler boosting” is a well-known relativistic effect that alters the apparent luminosity of approaching radiation sources. “Doppler de-boosting” is the name of relativistic effect observed for receding light sources (e.g. relativistic jets of active galactic nuclei and gamma-ray bursts). “Doppler boosting” changes the apparent luminosity of approaching light sources to appear brighter, while “Doppler de-boosting” causes the apparent luminosity of receding light sources to appear fainter. While “Doppler de-boosting” has been successfully accounted for and observed in relativistic jets of AGN, it was ignored in the establishment of Standard candles for cosmological distances. A Standard candle adjustment of an Z>0.1 is necessary for “Doppler de-boosting”, otherwise we would incorrectly assume that Standard Candles appear dimmer not because of “Doppler de-boosting” but because of the excessive distance, which would affect the entire Standard Candles ladder at cosmological distances. The ratio between apparent (L) and intrinsic (Lo) luminosities as a function of the redshift Z and spectral index α is given by the formula ℳ(Z) = L/Lo=(Z+1)α -3 and for Type Ia supernova appears as ℳ(Z) = L/Lo=(Z+1)-2. “Doppler de-boosting” may also explain the anomalously low luminosity of objects with a high Z without the introduction of an accelerated expansion of the Universe and Dark Energy.
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Zilberman, Mark. PREPRINT. “Doppler de-boosting” and the observation of “Standard candles” in cosmology. Intellectual Archive, June 2021. http://dx.doi.org/10.32370/ia_2021_06_23.

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PREPRINT. “Doppler boosting” is a well-known relativistic effect that alters the apparent luminosity of approaching radiation sources. “Doppler de-boosting” is the term of the same relativistic effect observed for receding light sources (e.g.relativistic jets of active galactic nuclei and gamma-ray bursts). “Doppler boosting” alters the apparent luminosity of approaching light sources to appear brighter, while “Doppler de-boosting” alters the apparent luminosity of receding light sources to appear fainter. While “Doppler de-boosting” has been successfully accounted for and observed in relativistic jets of AGN, it was ignored in the establishment of Standard candles for cosmological distances. A Standard candle adjustment of Z>0.1 is necessary for “Doppler de-boosting”, otherwise we would incorrectly assume that Standard Candles appear dimmer, not because of “Doppler de-boosting” but because of the excessive distance, which would affect the entire Standard Candles ladder at cosmological distances. The ratio between apparent (L) and intrinsic (Lo) luminosities as a function of the redshift Z and spectral index α is given by the formula ℳ(Z) =L/Lo=(Z+1)^(α-3) and for Type Ia supernova appears as ℳ(Z)=L/Lo=(Z+1)^(-2). “Doppler de-boosting” may also explain the anomalously low luminosity of objects with a high Z without the introduction of an accelerated expansion of the Universe and Dark Energy.
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Zilberman, Mark. "Doppler De-boosting" and the Observation of "Standard Candles" in Cosmology. Intellectual Archive, July 2021. http://dx.doi.org/10.32370/iaj.2552.

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“Doppler boosting” is a well-known relativistic effect that alters the apparent luminosity of approaching radiation sources. “Doppler de-boosting” is the same relativistic effect observed but for receding light sources (e.g. relativistic jets of AGN and GRB). “Doppler boosting” alters the apparent luminosity of approaching light sources to appear brighter, while “Doppler de-boosting” alters the apparent luminosity of receding light sources to appear fainter. While “Doppler de-boosting” has been successfully accounted for and observed in relativistic jets of AGN, it was ignored in the establishment of Standard candles for cosmological distances. A Standard Candle adjustment of Z>0.1 is necessary for “Doppler de-boosting”, otherwise we would incorrectly assume that Standard Candles appear dimmer, not because of “Doppler de-boosting” but because of the excessive distance, which would affect the entire Standard Candles ladder at cosmological distances. The ratio between apparent (L) and intrinsic (Lo) luminosities as a function of the redshift Z and spectral index α is given by the formula ℳ(Z) = L/Lo=(Z+1)α -3 and for Type Ia supernova appears as ℳ(Z) = L/Lo=(Z+1)-2. “Doppler de-boosting” may also explain the anomalously low luminosity of objects with a high Z without the introduction of an accelerated expansion of the Universe and Dark Energy.
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