Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.10
Barbara Lena Gierszewska
Title of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreover, the last two film-makers wrote about the necessity of recording Ukrainian cultural heritage; they expressed the need for patriotic, socially useful films. At that time, Ukrainian film criticism also developed in Lviv, In particular, it found expression in two outstanding periodicals published in the Ukrainian language, “Cinema” (1930–1936) and “Light and Shadow” (1933–1939).
{"title":"Ukraiński ruch filmowy we Lwowie w latach 30. XX wieku","authors":"Barbara Lena Gierszewska","doi":"10.14746/i.2023.34.43.10","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.10","url":null,"abstract":"
 
 
 Title of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreover, the last two film-makers wrote about the necessity of recording Ukrainian cultural heritage; they expressed the need for patriotic, socially useful films. At that time, Ukrainian film criticism also developed in Lviv, In particular, it found expression in two outstanding periodicals published in the Ukrainian language, “Cinema” (1930–1936) and “Light and Shadow” (1933–1939).
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":"167 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-10DOI: 10.1163/18718000-12340170
Hanna Liss
Abstract This article will deal with two folios from Ms. Vatican ebr. 14, a Pentateuch (with haftarot and megillot) written by Elijah ben Berekhiah ha-Nakdan in 1239. Both folios display a seven-branched candelabrum (menorah). The one on folio 104r is depicted lying on its side, while the one on folio 155v is standing upright. Both lampstands consist of masoretic material in micrographic script. The article will address both the form and content of the masorah figurata illustrations and relate them to Elijah’s overall pedagogical concept of teaching the Bible with a special emphasis on Hebrew language, grammar, and masorah. In addition, it will address the relationship between biblical text and its visualization, and it will ask whether the concept of peshaṭ exegesis was a necessary tool for visualizing biblical objects.
{"title":"Between Imagination and Exegesis: The Masorah Figurata Illustrations of the Two Menorot in Vatican ebr. 14","authors":"Hanna Liss","doi":"10.1163/18718000-12340170","DOIUrl":"https://doi.org/10.1163/18718000-12340170","url":null,"abstract":"Abstract This article will deal with two folios from Ms. Vatican ebr. 14, a Pentateuch (with haftarot and megillot) written by Elijah ben Berekhiah ha-Nakdan in 1239. Both folios display a seven-branched candelabrum (menorah). The one on folio 104r is depicted lying on its side, while the one on folio 155v is standing upright. Both lampstands consist of masoretic material in micrographic script. The article will address both the form and content of the masorah figurata illustrations and relate them to Elijah’s overall pedagogical concept of teaching the Bible with a special emphasis on Hebrew language, grammar, and masorah. In addition, it will address the relationship between biblical text and its visualization, and it will ask whether the concept of peshaṭ exegesis was a necessary tool for visualizing biblical objects.","PeriodicalId":41613,"journal":{"name":"Images","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136357960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-06DOI: 10.1163/18718000-12340173
Andreas Lehnertz, Hannah Teddy Schachter
Abstract This article nuances the dominant historiographical narrative of the Jews’ hat as an allegedly pejorative iconographic marker of Jewish men in medieval Ashkenaz. Considering the perceptions and functions of the Jews’ hat, this article will offer new conclusions regarding if, when, and by whom it was worn. Drawing from a variety of sources in Hebrew, Latin, and vernacular languages, and on visual sources, the overall argument presented here is that the Jews’ hat was not everyday attire and that it was not likely owned by all Jewish men. Rather, featuring among the variety of hats Jewish men wore based on their socioeconomic or religious status in their communities from the thirteenth to fifteenth centuries, the Jews’ hat was a costume worn by those of more common status and on formal occasions when distinguishing oneself according to any urban group was required, such as during urban processions, oath-taking, public forms of punishment, or matters of civic administration.
{"title":"The Jews’ Hat in Medieval Ashkenaz: Formal Attire for Everyday Men?","authors":"Andreas Lehnertz, Hannah Teddy Schachter","doi":"10.1163/18718000-12340173","DOIUrl":"https://doi.org/10.1163/18718000-12340173","url":null,"abstract":"Abstract This article nuances the dominant historiographical narrative of the Jews’ hat as an allegedly pejorative iconographic marker of Jewish men in medieval Ashkenaz. Considering the perceptions and functions of the Jews’ hat, this article will offer new conclusions regarding if, when, and by whom it was worn. Drawing from a variety of sources in Hebrew, Latin, and vernacular languages, and on visual sources, the overall argument presented here is that the Jews’ hat was not everyday attire and that it was not likely owned by all Jewish men. Rather, featuring among the variety of hats Jewish men wore based on their socioeconomic or religious status in their communities from the thirteenth to fifteenth centuries, the Jews’ hat was a costume worn by those of more common status and on formal occasions when distinguishing oneself according to any urban group was required, such as during urban processions, oath-taking, public forms of punishment, or matters of civic administration.","PeriodicalId":41613,"journal":{"name":"Images","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134943969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1163/18718000-12340168
Katrin Kogman-Appel
{"title":"Selected Hebrew Manuscripts from the Bavarian State Library, written by Aliza Cohen-Mushlin","authors":"Katrin Kogman-Appel","doi":"10.1163/18718000-12340168","DOIUrl":"https://doi.org/10.1163/18718000-12340168","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49150403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.1163/18718000-12340167
Matthew Baigell
{"title":"Portfolio David Wander Moral Narratives with Introduction and Annotations","authors":"Matthew Baigell","doi":"10.1163/18718000-12340167","DOIUrl":"https://doi.org/10.1163/18718000-12340167","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47133844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-17DOI: 10.1163/18718000-12340166
{"title":"The Samaritans: A Biblical People, edited by Steven Fine","authors":"","doi":"10.1163/18718000-12340166","DOIUrl":"https://doi.org/10.1163/18718000-12340166","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47459536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Krajobraz pod lasem. O Rhizopolis Joanny Rajkowskiej","authors":"Marek Hendrykowski","doi":"10.14746/i.2022.41.19","DOIUrl":"https://doi.org/10.14746/i.2022.41.19","url":null,"abstract":"
 
 
 The article contains an analytical and interpretative study of the poetics of two recent art installations by Joanna Rajkowska.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135368050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-05DOI: 10.1163/18718000-12340165
Shulamit Furstenberg-Levi
{"title":"1849–1871: The Jews of Rome between Segregation and Emancipation","authors":"Shulamit Furstenberg-Levi","doi":"10.1163/18718000-12340165","DOIUrl":"https://doi.org/10.1163/18718000-12340165","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47203131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-09DOI: 10.1163/18718000-12340164
David Selis
In 1897, Solomon Schechter brought a hoard of Hebrew manuscripts, now known collectively as the Cairo Genizah, to England from Cairo. Along with these manuscripts were several wooden Hebrew inscription fragments from Cairo’s Ben Ezra Synagogue. When Schechter left Cambridge to assume the presidency of the Jewish Theological Seminary of America, these fragments were brought to New York where they were transformed into a Torah Ark. This Torah ark was used at the Seminary for three decades and subsequently exhibited at the Jewish Museum, New York and The Metropolitan Museum of Art. It was featured on numerous postcards and in major works on Jewish art. In 1997, it was deconstructed by the Jewish Museum to extract the medieval inscriptions. This article explores the history, meaning and reception of the Schechter Torah Ark as a window into the complexities of Schechter’s legacy and the history of Jewish scholarship in the twentieth century.
{"title":"“Perhaps The Oldest Piece of Ecclesiastical Furniture in this Country”: The Construction and Destruction of Solomon Schechter’s Cairo Genizah Torah Ark","authors":"David Selis","doi":"10.1163/18718000-12340164","DOIUrl":"https://doi.org/10.1163/18718000-12340164","url":null,"abstract":"\u0000 In 1897, Solomon Schechter brought a hoard of Hebrew manuscripts, now known collectively as the Cairo Genizah, to England from Cairo. Along with these manuscripts were several wooden Hebrew inscription fragments from Cairo’s Ben Ezra Synagogue. When Schechter left Cambridge to assume the presidency of the Jewish Theological Seminary of America, these fragments were brought to New York where they were transformed into a Torah Ark. This Torah ark was used at the Seminary for three decades and subsequently exhibited at the Jewish Museum, New York and The Metropolitan Museum of Art. It was featured on numerous postcards and in major works on Jewish art. In 1997, it was deconstructed by the Jewish Museum to extract the medieval inscriptions. This article explores the history, meaning and reception of the Schechter Torah Ark as a window into the complexities of Schechter’s legacy and the history of Jewish scholarship in the twentieth century.","PeriodicalId":41613,"journal":{"name":"Images","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46004558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-26DOI: 10.1163/18718000-12340159
Richard McBee
This article describes the process by which eight contemporary Jewish artists – Andi Arnovitz, Judith Joseph, Richard McBee, Mark Podwal, Archie Rand, Joel Silverstein, Hillel Smith, and Yona Verwer – encountered Samaritan culture and created artworks that bridge their new learning about the Samaritans and their own Jewish identities. Their works were integrated into The Samaritans: A Biblical People, an exhibition at the Museum of the Bible in Washington, DC, that debuted in the fall of 2022. This essay integrates interviews with the artists into a larger discussion of their art.
{"title":"Contemporary Jewish Artists Encounter Samaritan Culture, 2020–2022: Artists’ Perspectives","authors":"Richard McBee","doi":"10.1163/18718000-12340159","DOIUrl":"https://doi.org/10.1163/18718000-12340159","url":null,"abstract":"\u0000 This article describes the process by which eight contemporary Jewish artists – Andi Arnovitz, Judith Joseph, Richard McBee, Mark Podwal, Archie Rand, Joel Silverstein, Hillel Smith, and Yona Verwer – encountered Samaritan culture and created artworks that bridge their new learning about the Samaritans and their own Jewish identities. Their works were integrated into The Samaritans: A Biblical People, an exhibition at the Museum of the Bible in Washington, DC, that debuted in the fall of 2022. This essay integrates interviews with the artists into a larger discussion of their art.","PeriodicalId":41613,"journal":{"name":"Images","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46491065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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