By Mitchell B. Merback
In 13 essays through top paintings historians, and a severe creation through the editor, "Beyond the Yellow Badge" seeks to reframe the connection among ecu visible tradition and the altering point of the Christian majority's detrimental conceptions of Jews and Judaism in the course of the center a while and early sleek classes.
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Extra resources for Beyond the Yellow Badge: Anti-judaism and Antisemitism in Medieval and Early Modern Visual Culture (Brill’s Series in Jewish Studies, Volume 37)
26 The aims of the present volume are perhaps more modest, but of course no less important. 27 The historical and cultural circumstances under which scholars in the western democracies now 25 Max Horkheimer and Theodor Adorno, Dialectic of Englightenment, trans. John Cumming (New York: Continuum, 1987), 171. , Imagining the Self, Imagining the Other: Visual Representation and Jewish Christian Dynamics in the Middle Ages and Early Modern Period (Leiden: Brill, 2002); the reference above to “historical structures of marginalization .
Paradigm shifts in our mental representations of the world can and do occur. We can move from fearing to glorfying the Other. We can move from loving to hating. The most negative stereotype always has an overtly positive counterweight. As any image is shifted, all stereotypes shift. 15 What factors, then, determine the meaning of a stereotyped pictorial image for individuals and social groups at a given time and place? 16 Here another pivotal concept comes into play, that of the scapegoat mechanism.
Ironically, his iconoclastic chapter on “Idols of the Jews” (pp. 165–94) has made him, I believe, one the most widely quoted Anglophone authorities on Jews in medieval art. 12 mitchell b. ”23 An expanded facility with images also meant a more thoroughgoing domination of this aniconic minority, this “nation without art” within Christian society. In an increasingly visual world, Camille realized, Christendom’s containment of the troubling ambivalence Jews represented could only be achieved by extending its hegemony across the whole domain of the visual: The stigma the Jews had to bear in thirteenth-century Christian societies was often a visual sign and can be seen as part of the new emphasis on visual organization and order of society.