In the first comprehensive study of Jewish identity and its meaning for the history of art, eleven influential scholars illuminate the formative role of Jews as subjects of art historical discourse. At the same time, these essays introduce to art history an understanding of the place of cultural identity in the production of scholarship. Contributors explore the meaning of Jewishness to writers and artists alike through such topics as exile, iconoclasm, and anti-Semitism. Included are essays on Anselm Kiefer and Theodor Adorno; the effects of the Enlightenment; the rise of the nation-state; Nazi policies on art history; the criticism of Meyer Schapiro, Clement Greenberg, and Aby Warburg; the art of Judy Chicago, Eleanor Antin, and Morris Gottlieb; and Jewish patronage of German Expressionist art. Offering a new approach to the history of art in which the cultural identities of the makers and interpreters play a constitutive role, this collection begins an important and overdue dialogue that will have a significant impact on the fields of art history, Jewish studies, and cultural studies.

Reconstructing Ashkenaz shows that, contrary to traditional accounts, the Jews of Western Europe in the High Middle Ages were not a society of saints and martyrs. David Malkiel offers provocative revisions of commonly held interpretations of Jewish martyrdom in the First Crusade massacres, the level of obedience to rabbinic authority, and relations with apostates and with Christians. In the process, he also reexamines and radically revises the view that Ashkenazic Jewry was more pious than its Sephardic counterpart.

Salo Wittmayer Baron was, alongside Simon Dubnow and Heinrich Graetz, one of the three most important figures in the study of Jewish history. His sweeping, multivolume history of Jewish life and culture covered the whole of recorded history from ancient to modern times and has been hailed as one of the most important books in the field of Jewish studies. Baron, for six decades the unchallenged symbol of Jewish studies, was, it can be argued, largely responsible for the blossoming of Jewish history as a field of study in America.

The development of Afrocentric historical writing is explored in this study which traces this recording of history from the Hellenistic-Roman period to the 19th century. Afrocentric writers are depicted as searching for the unique primary source of "culture" from one period to the next. Such passing on of cultural traits from the "ancient model" from the classical period to the origin of culture in Egypt and Africa is shown as being a product purely of creative history.

This brilliant collection of essays examines the dialogue between Jewish history and historiography in terms of changing national and popular myths, folk memory, and historical consciousness of Jews in modern times. From essays dealing with the origins of Jewish historiography in the nineteenth century, to its contemporary perspectives and methodologies, this book provides a great overview and varied insights into the field.

Akiva Cohen investigates the general research question: how do the authors of religious texts reconstruct their community identity and ethos in the absence of their central cult? His particular socio-historical focus of this more general question is: how do the respective authors of the Gospel according to Matthew, and the editor(s) of the Mishnah redefine their group identities following the destruction of the Second Temple? Cohen further examines how, after the Destruction, both the Matthean and the Mishnaic communities found and articulated their renewed community bearings and a new sense of vision through each of their respective author/redactor's foundational texts. The context of this study is thus that of an inner-Jewish phenomenon; two Jewish groups seeking to (re-)establish their community identity and ethos without the physical temple that had been the cultic center of their cosmos.