Dark mirror : the medieval origins of anti-Jewish iconography
New York : Metropolitan Books/ Holt, 2014.
xxi, 390 pages, [8] pages of plates : illustrations (some color) ; 24 cm.
"In Dark Mirror, Sara Lipton offers a fascinating examination of the emergence of anti-Semitic iconography in the Middle AgesThe straggly beard, the hooked nose, the bag of coins, and gaudy apparel--the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears.Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility.At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages--why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals--not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself"-- Provided by publisher.
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LC Call No: |
N8219.J49 L57 2014 |
Dewey Class No: |
704.9/49305892404 23 |
Author: |
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Title: |
Dark mirror : the medieval origins of anti-Jewish iconography / Sara Lipton. |
Edition: |
First Edition. |
Publisher: |
New York : Metropolitan Books/ Holt, 2014. |
Physical: |
xxi, 390 pages, [8] pages of plates : illustrations (some color) ; 24 cm. |
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MediaType: |
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BibliogrphyNote: |
Includes bibliographical references and index. |
Summary: |
"In Dark Mirror, Sara Lipton offers a fascinating examination of the emergence of anti-Semitic iconography in the Middle AgesThe straggly beard, the hooked nose, the bag of coins, and gaudy apparel--the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears.Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility.At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages--why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals--not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself"-- Provided by publisher. |
Summary: |
"The straggly beard, the hooked nose, the bag of coins, and gaudy apparel--the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages--why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals--not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself"-- Provided by publisher. |
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Field | Ind | Subfield | Data |
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001 Control No | 5446 | ||
005 LastTransaction | 20180424144151.0 | ||
008 Data Elements | 140522s2014 nyua b 001 0 eng | ||
010 LCCN | $a Record content licensor | 2014015899 | |
020 ISBN | $a ISBN | 978-0-8050-7910-4 (hardback) | |
020 ISBN | $z Canceled/invalid ISBN | 9780805096019 (electronic book) | |
035 System Ctrl No | $a System control number | 18160163 | |
040 Cataloging Src | $a Original cataloging agency | DLC | |
$b Language of cataloging | eng | ||
$c Transcribing agency | DLC | ||
$e Description conventions | rda | ||
$d Modifying agency | DLC | ||
042 Authentication | $a Authentication code | pcc | |
050 LC Call No | 00 | $a Classification number | N8219.J49 |
$b Item number | L57 2014 | ||
082 Dewey Class No | 00 | $a Classification number | 704.9/49305892404 |
$2 Edition number | 23 | ||
084 Other Class No | $a Classification number | ART015070 | |
$a Classification number | HIS022000 | ||
$2 Source of number | bisacsh | ||
100 ME:PersonalName | 1 | $a Personal name | Lipton, Sara, |
$d Dates associated with a name | 1962- | ||
245 Title | 10 | $a Title | Dark mirror : |
$b Remainder of title | the medieval origins of anti-Jewish iconography / | ||
$c Statement of responsibility | Sara Lipton. | ||
250 Edition | $a Edition statement | First Edition. | |
260 PublicationInfo | $a Place of publication, dist. | New York : | |
$b Name of publisher, dist, etc | Metropolitan Books/ Holt, | ||
$c Date of publication, dist, etc | 2014. | ||
264 ProductnNotice | 1 | $a Place of prod/dist/manuf. | New York : |
$b Name of prod./pub./dist./man. | Metropolitan Books/Henry Holt and Company, | ||
$c Date of prod/dist/manuf/copyrt | 2014. | ||
300 Physical Desc | $a Extent | xxi, 390 pages, [8] pages of plates : | |
$b Other physical details | illustrations (some color) ; | ||
$c Dimensions | 24 cm. | ||
336 ContentType | $a Content type term | text | |
$2 Source | rdacontent | ||
337 MediaType | $a Media type term | unmediated | |
$2 Source | rdamedia | ||
338 CarrierType | $a Carrier type term | volume | |
$2 Source | rdacarrier | ||
504 BibliogrphyNote | $a Bibliography, etc. note | Includes bibliographical references and index. | |
520 Summary | $a Summary, etc. note | "In Dark Mirror, Sara Lipton offers a fascinating examination of the emergence of anti-Semitic iconography in the Middle AgesThe straggly beard, the hooked nose, the bag of coins, and gaudy apparel--the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears.Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility.At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages--why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals--not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself"-- | |
$c | Provided by publisher. | ||
520 Summary | $a Summary, etc. note | "The straggly beard, the hooked nose, the bag of coins, and gaudy apparel--the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages--why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals--not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself"-- | |
$c | Provided by publisher. | ||
650 Subj:Topic | 0 | $a Topical term | Jews in art. |
$x General subdivision | Art, Medieval | ||
$x General subdivision | Art and society | ||
650 Subj:Topic | 0 | $a Topical term | Antisemitism in art. |
650 Subj:Topic | 0 | $a Topical term | Art, Medieval. |
650 Subj:Topic | 0 | $a Topical term | Art and society |
$z Geographic subdivision | Europe | ||
$x General subdivision | History | ||
$y Chronological subdivision | To 1500. | ||
650 Subj:Topic | 7 | $a Topical term | ART / History / Medieval. |
$2 Source of heading or term | bisacsh | ||
650 Subj:Topic | 7 | $a Topical term | HISTORY / Jewish. |
$2 Source of heading or term | bisacsh. | ||
852 Holdings | $a Location | DOJE | |
$h Classification part | 704.9 Lip | ||
$p Barcode | 32424000013149 | ||
$9 Cost | $0.00 | ||
856 ElectronicLocat | 42 | $3 Materials specified | Cover image |
$u Uniform Resource Identifier | http://www.netread.com/jcusers2/bk1388/104/9780805079104/image/lgcover.9780805079104.jpg |
Editorial Reviews


