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Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Jewish Costume - History and Influences
Vojislava Radovanović JEWISH COSTUME - HISTORY AND INFLUENCES Along with dwellings, furniture, tools, arms and other appliances for everyday use, garments and ornaments are integral parts of the material cul- ture of a nation. Costume is an ethnic feature which is on one hand directly conditioned by the climate, and on the other hand, it is indirectly influenced by other forms of the existing cultural system. Besides its basic protective function, clothing has always been a status symbol through which religious views, as well as traditional and social relations have been reflected. Clothes have also been a reliable indicator of the community's attitude toward out- side influences and its aesthetic ideals. According to archeological findings, preserved engravings and Biblical testimonies, Jewish garments of the Talmudic times were of simple shapes and did not differ from those worn by the neighboring nations living in the countries within the same climatic zone.1 The basic garments were known as: the simlah or salmah, the ezor and the kethoneth. The simlah was actually a long piece of cloth, usually of rectangular shape. It was a simple cover which was draped over or wrapped around a person's body. Worn in such a way, the simlah resembled the Roman pallium. It also served as a blanket, while the Israelites used it as a food carry-on bag. The simlah was worn by most Middle Eastern nations due to its simplicity and variety of applications. The ezor was the simplest form of woven gar- ment, while the kethoneth was of a better defined shape, usually made in the form of a Roman tunic with long or short sleeves. -
Culture of Azerbaijan
Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y CULTURE OF AZERBAIJAN CONTENTS I. GENERAL INFORMATION............................................................................................................. 3 II. MATERIAL CULTURE ................................................................................................................... 5 III. MUSIC, NATIONAL MUSIC INSTRUMENTS .......................................................................... 7 Musical instruments ............................................................................................................................... 7 Performing Arts ....................................................................................................................................... 9 Percussion instruments ........................................................................................................................... 9 Wind instruments .................................................................................................................................. 12 Mugham as a national music of Azerbaijan ...................................................................................... 25 IV. FOLKLORE SONGS ..................................................................................................................... 26 Ashiqs of Azerbaijan ............................................................................................................................ 27 V. THEATRE, -
From Noble Dress to Jewish Attire: Jewish Appearances in the Polish-Lithuanian Commonwealth and the Holy Roman Empire
Cornelia Aust From Noble Dress to Jewish Attire: Jewish Appearances in the Polish-Lithuanian Commonwealth and the Holy Roman Empire Abstract: This article examines the different styles of attire that had emerged by the eighteenth century among Jews in Poland and German-speaking lands. It ar- gues that Jews in both regions developed their attire from older styles of dress that had fallen out of fashion among German burghers and Polish noblemen, re- spectively. Nevertheless, the distinguishability of Jews and Christians and distinc- tions among Jews according to social status, gender, and geographic origin were never clear-cut issues. Picturing a Hasidic Jew in Jerusalem or New York today, with a long black coat, a silk or satin caftan on Sabbath, and a black (fur) hat, many believe that this or similar attire has been the typical dress of (East European) Jews throughout time.1 However, dress and appearance have always undergone continual change and are a rather fluid marker of identity and belonging. Though Jewish law traditionally prescribes that Jews be distinguishable from their non-Jewish neighbors, and Christian and Jewish authorities have since the thirteenth century explicitly stipulated distinctive dress, such normative prescriptions do not allow for the conclusion that Jewish men and women have always been recognizable by their dress. Likewise, the fact that Jews were sometimes forced to wear distinctive signs does not mean that they were other- wise invisible as Jews or could pass as Christians when not wearing a discrimi- natory sign.2 Nevertheless, by the end of the eighteenth century there seems to have been a clear sense of a “Jewish attire”. -
The Complete Costume Dictionary
The Complete Costume Dictionary Elizabeth J. Lewandowski The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2011 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Elizabeth J. Lewandowski Unless otherwise noted, all illustrations created by Elizabeth and Dan Lewandowski. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Lewandowski, Elizabeth J., 1960– The complete costume dictionary / Elizabeth J. Lewandowski ; illustrations by Dan Lewandowski. p. cm. Includes bibliographical references. ISBN 978-0-8108-4004-1 (cloth : alk. paper) — ISBN 978-0-8108-7785-6 (ebook) 1. Clothing and dress—Dictionaries. I. Title. GT507.L49 2011 391.003—dc22 2010051944 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America For Dan. Without him, I would be a lesser person. It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage or punished for neglect, where success would have been without applause and diligence without reward. -
Byzantine Garden Culture
Byzantine Garden Culture Byzantine Garden Culture edited by Antony Littlewood, Henry Maguire, and Joachim Wolschke-Bulmahn Dumbarton Oaks Research Library and Collection Washington, D.C. © 2002 Dumbarton Oaks Trustees for Harvard University Washington, D.C. All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Data Byzantine garden culture / edited by Antony Littlewood, Henry Maguire and Joachim Wolschke- Bulmahn. p. cm. Papers presented at a colloquium in November 1996 at Dumbarton Oaks. Includes bibliographical references (p. ) ISBN 0-88402-280-3 (alk. paper) 1. Gardens, Byzantine—Byzantine Empire—History—Congresses. 2. Byzantine Empire— Civilization—Congresses. I. Littlewood, Antony Robert. II. Maguire, Henry, 1943– III. Wolschke- Bulmahn, Joachim. SB457.547 .B97 2001 712'.09495—dc21 00-060020 To the memory of Robert Browning Contents Preface ix List of Abbreviations xi The Study of Byzantine Gardens: Some Questions and Observations from a Garden Historian 1 Joachim Wolschke-Bulmahn The Scholarship of Byzantine Gardens 13 Antony Littlewood Paradise Withdrawn 23 Henry Maguire Byzantine Monastic Horticulture: The Textual Evidence 37 Alice-Mary Talbot Wild Animals in the Byzantine Park 69 Nancy P. Sevcenko Byzantine Gardens and Horticulture in the Late Byzantine Period, 1204–1453: The Secular Sources 87 Costas N. Constantinides Theodore Hyrtakenos’ Description of the Garden of St. Anna and the Ekphrasis of Gardens 105 Mary-Lyon Dolezal and Maria Mavroudi Khpopoii?a: Garden Making and Garden Culture in the Geoponika 159 Robert Rodgers Herbs of the Field and Herbs of the Garden in Byzantine Medicinal Pharmacy 177 John Scarborough The Vienna Dioskorides and Anicia Juliana 189 Leslie Brubaker viii Contents Possible Future Directions 215 Antony Littlewood Bibliography 231 General Index 237 Index of Greek Words 260 Preface It is with great pleasure that we welcome the reader to this, the first volume ever put together on the subject of Byzantine gardens. -
İncəsənət Və Mədəniyyət Problemləri Jurnalı
AZƏRBAYCAN MİLLİ ELMLƏR AKADEMİYASI AZERBAIJAN NATIONAL ACADEMY OF SCIENCES НАЦИОНАЛЬНАЯ АКАДЕМИЯ НАУК АЗЕРБАЙДЖАНА MEMARLIQ VƏ İNCƏSƏNƏT İNSTİTUTU INSTITUTE OF ARCHITECTURE AND ART ИНСТИТУТ АРХИТЕКТУРЫ И ИСКУССТВА İncəsənət və mədəniyyət problemləri Beynəlxalq Elmi Jurnal N 1 (71) Problems of Arts and Culture International scientific journal Проблемы искусства и культуры Международный научный журнал Bakı - 2020 Baş redaktor: ƏRTEGİN SALAMZADƏ, AMEA-nın müxbir üzvü (Azərbaycan) Baş redaktorun müavini: GULNARA ABDRASİLOVA, memarlıq doktoru, professor (Qazaxıstan) Məsul katib : FƏRİDƏ QULİYEVA, sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan) Redaksiya heyətinin üzvləri: ZEMFİRA SƏFƏROVA – AMEA-nın həqiqi üzvü (Azərbaycan) RƏNA MƏMMƏDOVA – AMEA-nın müxbir üzvü (Azərbaycan) RƏNA ABDULLAYEVA – sənətşünaslıq doktoru, professor (Azərbaycan) SEVİL FƏRHADOVA – sənətşünaslıq doktoru, professor (Azərbaycan) RAYİHƏ ƏMƏNZADƏ - memarlıq doktoru, professor (Azərbaycan) VLADİMİR PETROV – fəlsəfə elmləri doktoru, professor (Rusiya) KAMOLA AKİLOVA – sənətşünaslıq doktoru, professor (Özbəkistan) MEYSER KAYA – fəlsəfə doktoru (Türkiyə) VİDADİ QAFAROV – sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan) Editor-in-chief: ERTEGIN SALAMZADE, corresponding member of ANAS (Azerbaijan) Deputy editor: GULNARA ABDRASSILOVA, Prof., Dr. (Kazakhstan) Executive secretary: FERİDE GULİYEVA Ph.D. (Azerbaijan) Members to editorial board: ZEMFIRA SAFAROVA – academician of ANAS (Azerbaijan) RANA MAMMADOVA – corresponding-member of ANAS (Azerbaijan) RANA ABDULLAYEVA – Prof., Dr. -
Prophet. 4. Sp~:;O:Uteven Under Threat of 5. T~6F False Prophets. 6. Co~'Ge
prophet. 4. Sp~:;o:uteven under threat of de~th. 5. T~6f false prophets. 6. Co~'ge of 'a. man forbidden. tornarry (Hfil-4), th~gl1tful of the help of h~~;secr~tary( 45: 22-25>. deeply eri\tJtionahman; c_ree.pames for Go~''S;peoPletmlai'';h~loVErd: cl].osen. holy, c~osenvine,Go(]tsloved ones, the' inheritance. fl~ck, ffrstborn. 7. Marvelous pictures of God who loves purity and punishes sin. 11. 12. 14 III arne means "God exalts" or "God casts down." c. a purpose for you. 2. Too young, without sufficient qualifications & experience. lit' lCr} tec m~; ;JV1!~ - 3. 3. tI a) • 15: 1 b) Moses Deut. 3:2 c) Mary Lu. 1:30 d) Paul Acts 27:24 4. Prophets' words must be identical with God's. D.U IIX ]. £ 81 ····lli fJ1d'-JI[:'iUl::~ T:-&;~~*-' 1. Destroy 2. Overthrow (demolish NEB) 3. Rebuild 4. Plant al was great. Let it slip away. ~1. 0 u e 2. Rely on III 11' gods. Jer ..• 31 * Jer. C&7 p 3. Theme--backsliding, turning away. 4. Always that danger. 5. Awe;. tIt. .J I 11 as I ; 'I sBIin •• r,d JaJ llOd in 117 1. Trust God--not Baal. 2. Total·confession of sins. 3. Recoe:nize sin as folly & wasted opportumty. \ \. -. 4. Ignorance & stupidity cause it. Had the law. should ~e:~ et (£) 1. 1RJlillt*. .IJ erson could have hclped. Gen. 18:16-33 2 ..._ .....__ Doubted God JJt~l__ .JP.1 Lilli Boundry ofS wrongfully exercises free will. 1. False teachers proclaim false peace. -
Early Testimonies of Jewish Survivors of World War II
Tragedy and Triumph Early Testimonies of Jewish Survivors of World War II Compiled and Translated by Freda Hodge ABOUT THIS BOOK In this collection Freda Hodge retrieves early voices of Holocaust survivors. Men, women and children relate experiences of deportation and ghetto isation, forced labour camps and death camps, death marches and liber ation. Such eyewitness accounts collected in the immediate postwar period constitute, as the historian Feliks Tych points out, the most important body of Jewish documents pertaining to the history of the Holocaust. The fresh ness of memory makes these early voices profoundly different from, and historically more significant than, later recollections gathered in oral history programs. Carefully selected and painstakingly translated, these survivor accounts were first published between 1946 and 1948 in the Yiddish journal Fun Letzten Khurben (‘From the Last Destruction’) in postwar Germany, by refugees waiting in ‘Displaced Persons’ camps, in the American zone of occupation, for the arrival of travel documents and visas. These accounts have not previously been available in English. ABOUT THE AUTHOR Freda Hodge holds degrees in English, Linguistics and Jewish Studies, and has taught at universities and colleges in South Africa and Australia. Fluent in Hebrew as well as Yiddish, she works at the Holocaust Centre in Melbourne conducting interviews with survivors and families. Copyright Information Tragedy and Triumph: Early Testimonies of Jewish Survivors of World War II Compiled and translated by Freda Hodge © Copyright 2018 All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. -
The Badge of All Our Tribe”: Contradictions of Jewish Representation on the English Renaissance Stage
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses June 2021 “The Badge of All Our Tribe”: Contradictions of Jewish Representation on the English Renaissance Stage Becky S. Friedman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Dramatic Literature, Criticism and Theory Commons, Jewish Studies Commons, Literature in English, British Isles Commons, and the Renaissance Studies Commons Recommended Citation Friedman, Becky S., "“The Badge of All Our Tribe”: Contradictions of Jewish Representation on the English Renaissance Stage" (2021). Doctoral Dissertations. 2178. https://doi.org/10.7275/22251403.0 https://scholarworks.umass.edu/dissertations_2/2178 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. “The Badge of All Our Tribe”: Contradictions of Jewish Representation on the English Renaissance Stage A Dissertation Presented by BECKY SARA FRIEDMAN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2021 English © Copyright by Becky Sara Friedman 2021 All Rights Reserved “The Badge of All Our Tribe”: Contradictions of Jewish Representation on the English Renaissance Stage A Dissertation Presented by BECKY SARA FRIEDMAN Approved as to style and content by: ________________________________________________ Jane Hwang Degenhardt, Chair ________________________________________________ Adam Zucker, Member ________________________________________________ Harley Erdman, Member ________________________________________________ Randall Knoper, Department Chair English ACKNOWLEDGMENTS First and foremost, I would like to thank Jane Hwang Degenhardt. -
Fund Og Forskning I Det Kongelige Biblioteks Samlinger
Digitalt særtryk af FUND OG FORSKNING I DET KONGELIGE BIBLIOTEKS SAMLINGER Bind 57 2018 FUND OG FORSKNING Bind 57 2018 Digitalt særtryk af FUND OG FORSKNING I DET KONGELIGE BIBLIOTEKS SAMLINGER Bind 57 2018 With summaries KØBENHAVN 2018 UDGIVET AF DET KONGELIGE BIBLIOTEK Om billedet på smudsomslaget se s. 249. Det kronede monogram på kartonomslaget er tegnet af Erik Ellegaard Frederiksen efter et bind fra Frederik 3.s bibliotek Om titelvignetten se s. 77. © Forfatterne og Det Kgl. Bibliotek Redaktion: Jakob K. Meile Artikler i Fund og Forskning gennemgår ‘double blinded peer-review’ for at kunne antages. Undtaget fra denne norm er dog artiklerne under ‘Mindre bidrag’, der ty- pisk har debatterende eller samlingsoplysende karakter. Trykt på Munken Premium Cream 13, 115 g Dette papir overholder de i ISO 9706:1998 fastsatte krav til langtidsholdbart papir. Grafisk tilrettelæggelse: Jakob K. Meile Tryk og indbinding: Bording A⁄S Printed in Livonia Oplag: 200 eks. ISSN 0069-9896 ISBN 978-87-7023-150-3 THE CONSTRUCTION AND TRANSCULTURAL DISSEMINATION OF NEGATIVE IMAGES OF JEWS in a French Thirteenth-Century Illuminated Psalter Made for a Danish Reader1 by Marina Vidas his article is concerned with a splendid de luxe Psalter (London, TBritish Library, MS Additional 17868) produced in France after 1253. Although little has been published about this richly illuminated manuscript, scholars have shown an interest in some of its numerous images of figures with Jewish attributes.2 In this article, I provide an over- view of the relevant literature on the London Psalter, a full description of the textual and pictorial components of the manuscript, including a detailed analysis of the Calendar and Litany, as well as putting forth reasons for identifying the intended reader as Danish. -
Of the Insipiens in Thirteenth-Century French Psalters
FLORILEGIUM 10, 1988-91 ANTICHRIST AS THE EMBODIMENT OF THE INSIPIENS IN THIRTEENTH-CENTURY FRENCH PSALTERS Ahuva Belkin While illustrations for many Holy Books are created especially for the rel evant texts, the iconography of the Psalms has mostly been borrowed.1 In early manuscripts the rich imagery of the visual scenes occupied large por tions of the page, but this changed as artists became increasingly involved with historiated initials. These, marking the liturgical division, were dec orated with sequences borrowed from the New and Old Testaments, with the literal illustrations being confined to the opening verses.2 In contrast to the diversity that had characterized earlier endeavours, the picture cycles became static from the thirteenth century onward, with each production centre and its zone of influence embracing repetitive themes. Psalm 52 was most frequently used in the liturgy. Its historiated initial “D” in the opening sentence “Dixit insipiens in corde suo non est Deus” was elaborately illuminated. Unlike the unvarying illustrations for other chap ters, the “D” in Psalm 52 boasts an array of attractive images, and is the only one to have undergone an interesting, complex, and significant process of development. Indeed, it presents a striking demonstration of the dynam ics of philosophy, theology, and culture operant during the Middle Ages. 65 66 FLORILEGIUM 10, 1988-91 The illumination expresses a transition of themes: from the transcendental evil that assails man to human heresy. A common illustrative plan of the initial “D” relating to the opening verse embodies the concept of the insipiens. Scholars have generally iden tified this figure as a “fool” — a throw-back to the image of the insipiens.3 The image of a heretic appearing as a madman or as a festive fool in parti- colour emblematic clothes can be found in several groups throughout the illustrative development of Psalm 52.