The Social Context of Apostasy among Fifteenth-Century Spanish Jewry:

2008 ◽  
pp. 173-198
Author(s):  
RAM BEN-SHALOM
Author(s):  
Ram Ben-Shalom

This chapter seeks to ground individual expressions of the new rhetoric in concrete details of the social context of apostasy that spawned it. It discusses how Jews and the Conversos engaged in the construction and reconstruction of their respective identities in response to the mass conversions. It also emphasizes how the Jew was an entirely contemporary concept and representative of real Jews and Conversos that is firmly rooted in the realities of social interaction during the fifteenth-century Castile. The chapter recognizes the elusiveness and mutability of ethnic and religious identity in formulating the essential characteristics of the self. It describes images of the anthropomorphized figures of Church and Synagogue that adorn the Christian art of western Europe and which contain theological and social messages revealing the chasm separating Christianity and Judaism.


2017 ◽  
Vol 34 (1) ◽  
pp. 273-286
Author(s):  
Yui Kanda

The production site(s) of luster-painted ceramics from the fifteenth century onward have yet to be precisely identified due to a paucity of material and textual evidence regarding ceramic production during this period. This study focuses on a hitherto undeciphered Persian poem, which was inconspicuously inscribed in the unskilled nastaʿlīq script on a luster-painted ceramic tombstone dated 25 Jumada II 967 (March 23, 1560). This poem can be identified as a qiṭʿa by Muhtasham Kashani (d. 1588), a renowned court poet who spent his entire life in Kashan. The identification of this poem is particularly important for two reasons. First, it may imply that luster-painted ceramics were produced in Kashan during the early Safavid period. Second, it suggests that there is indeed potential for using epitaphs as historical sources, as the poem in question sheds valuable light on the editing process of Haft dīvān, as well as on the social context of the growing popularity of chronogram poems in Iran during this period.



2020 ◽  
Vol 23 (1) ◽  
pp. 102-143
Author(s):  
Elham Shams ◽  
Farzaneh Farrokhfar

The paintings of demons attributed to Muhammad Siyah Qalam, which are primarily in album H. 2153 in the Topkapi Palace Museum, Istanbul, have been the centre of debate for many years. Basic questions are asked concerning their provenance. Demons performing human actions have raised several problems of interpretation and form the analytical focus of this article. Searching a certain historical period, the article seeks a socio-political reality that can be connected with these paintings. Iconographic elements and authentic Chinese paintings known to be sources of inspiration provide the possibility of discussing the Aq Qoyunlu era in the late fifteenth century as the social context, a time when the rising power of Sufism caused resentment in the court. Notes regarding Sufis written in the official chronicle during the reign of Yaqub Aq Qoyunlu, Tārikh-e-ĀlamĀrāy-e-Amini, relate to certain of the paintings and have not been mentioned prior to this article.


1990 ◽  
Vol 45 (12) ◽  
pp. 1386-1386 ◽  
Author(s):  
Jessica Wolfe
Keyword(s):  

1987 ◽  
Vol 32 (12) ◽  
pp. 1004-1007
Author(s):  
Gregory M. Herek
Keyword(s):  

2001 ◽  
Author(s):  
Penny S. Visser ◽  
Robert R. Mirabile
Keyword(s):  

1998 ◽  
Author(s):  
M. S. Stroebe ◽  
H. A. W. Schut
Keyword(s):  

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