By Jill Caskey;Adam S. Cohen;Linda Safran
This quantity techniques the matter of the canonical middle through paintings and structure at the borders of the medieval global, from China to Armenia, Sweden, and Spain. Seven members interact 3 precise but comparable difficulties: margins, frontiers, and cross-cultural encounters. whereas no longer exhibiting a unified method or privileging particular theoretical constructs, the essays emphasize how innovations of illustration articulated possession and id inside contested arenas. what's contested is either medieval (the fabric facts itself) and smooth (the scholarly traditions within which the facts has or has now not been embedded). An creation via the editors locations the essays inside of historiographic and pedagogical frameworks. individuals: J. Caskey, okay. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.
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Jewish art and cultural exchange 15 hension: the assumption that Ashkenazi Jewry was culturally isolated, especially when compared to Sephardic Jewry. He presents a concept of “inward” acculturation, typical of premodern Europe, and “outward”— modern—acculturation. Inward acculturation is the integration of cultural elements into Judaism, whereas outward acculturation implies borrowing elements that ultimately dilute collective Jewish identity and result in secularization. This distinction somewhat echoes Glick’s distinction between acculturation and assimilation.
It can, however, also be guided by the fear of assimilation, the fear of losing self-definition, and the anxiety that the adoption of alien features may have a negative effect on one’s own cultural repertoire. This may lead to resistance. If religiously motivated hostility on the part of the dominant culture appears as a determining factor in the way a minority defines itself, the transfer of cultural elements can either be checked by resistance, or take the route Marcus describes as leading to the adaptation of cultural elements for the sake of polemics.
6 For some, they represent metaphorical booty, visual manifestations of Christianity’s triumph over Islam in the form of an aggressive appropriation of its aesthetic. ),” RES 43 (2003), 51-77, and eadem, “Trees of Love, Trees of Knowledge: Toward the Definition of a Cross-Confessional Current in Late-Medieval Iberian Spirituality,” in María Feliciano, Cynthia Robinson, and Leyla Rouhi, eds, Interrogating Iberian Frontiers: A Cross-Disciplinary Approaches to Mudéjar History, Religion, Art and Literature, special edition of Medieval Encounters 12/3 (2006), 388-435.
Confronting the Borders of Medieval Art by Jill Caskey;Adam S. Cohen;Linda Safran