This book challenges a common historical narrative, which portrays medieval Jews as moneylenders who filled an essential economic role in Europe. It traces how and why this narrative was constructed as a philosemitic narrative in the nineteenth and twentieth centuries in response to the rise of political antisemitism. This book also documents why it is a myth for medieval Europe, and illuminates how changes in Jewish history change our understanding of European history. Each chapter offers a novel interpretation of central topics, such as the usury debate, commercial contracts, and moral literature on money and value to demonstrate how the revision of Jewish history leads to new insights in European history.
This book challenges a common historical narrative, which portrays medieval Jews as moneylenders who filled an essential economic role in Europe. It traces how and why this narrative was constructed as a philosemitic narrative in the nineteenth and twentieth centuries in response to the rise of political antisemitism. This book also documents why it is a myth for medieval Europe, and illuminates how changes in Jewish history change our understanding of European history. Each chapter offers a novel interpretation of central topics, such as the usury debate, commercial contracts, and moral literature on money and value to demonstrate how the revision of Jewish history leads to new insights in European history.
After the Bible, the Passover haggadah is the most widely read classic text in the Jewish tradition. More than four thousand editions have been published since the late fifteenth century, but few are as exquisite as the Washington Haggadah, which resides in the Library of Congress. Now, a stunning facsimile edition meticulously reproduced in full color brings this beautiful illuminated manuscript to a new generation. Joel ben Simeon, the creator of this unusually well-preserved codex, was among the most gifted and prolific scribe-artists in the history of the Jewish book. David Stern’s introduction reconstructs his professional biography and situates this masterwork within the historical development of the haggadah, tracing the different forms the text took in the Jewish centers of Europe at the dawn of modernity. Katrin Kogman-Appel shows how ben Simeon, more than just a copyist, was an active agent of cultural exchange. As he traveled between Jewish communities, he brought elements of Ashkenazi haggadah illustration to Italy and returned with stylistic devices acquired during his journeys. In addition to traditional Passover images, realistic illustrations of day-to-day life provide a rare window into the world of late fifteenth-century Europe. This edition faithfully preserves the original text, with the Hebrew facsimile appearing in the original right-to-left orientation. It will be read and treasured by anyone interested in Jewish history, medieval illuminated manuscripts, and the history of the haggadah.
How has the ability of Jews to amass and wield power, within both Jewish and non-Jewish society, influenced and been influenced by their economic activity? Purchasing Power answers this question by examining the nexus between money and power in modern Jewish history. It does so, in its first section, by presenting a series of case studies of the ways in which the economic choices made by Jewish businessmen could bring them wealth and influence. The second section focuses on transnational Jewish philanthropic and economic networks. The discussions there reveal how the wielding of power by Jewish organizations on the world stage could shape not only Jewish society but also the international arena. In this way, the contributors to this volume reposition economics as central to our understanding of the Jewish experience from early modern Rome to contemporary America. Its importance for the creation of the State of Israel is also examined. As the editors write: "The study of culture and identity has proved valuable and enlightening (and, in some senses, also comfortable) in understanding the complexities of Jewish history. Perhaps we should now return to the issues of the material bases for Jewish life, and the ways in which Jews have exploited them in their search for wealth and power. Our understanding of the Jewish past will be immeasurably enriched in the effort." Contributors: Cornelia Aust, Bernard Cooperman, Veerle Vanden Daelen, Jonathan Dekel-Chen, Glenn Dynner, Abigail Green, Jonathan Karp, Rebecca Kobrin, Adam D. Mendelsohn, Derek Penslar, Adam Sutcliffe, Adam Teller, Carsten L. Wilke.
In The Apocalypse of Empire, Stephen J. Shoemaker argues that earliest Islam was a movement driven by urgent eschatological belief that focused on the conquest, or liberation, of the biblical Holy Land and situates this belief within a broader cultural environment of apocalyptic anticipation. Shoemaker looks to the Qur'an's fervent representation of the imminent end of the world and the importance Muhammad and his earliest followers placed on imperial expansion. Offering important contemporary context for the imperial eschatology that seems to have fueled the rise of Islam, he surveys the political eschatologies of early Byzantine Christianity, Judaism, and Sasanian Zoroastrianism at the advent of Islam and argues that they often relate imperial ambition to beliefs about the end of the world. Moreover, he contends, formative Islam's embrace of this broader religious trend of Mediterranean late antiquity provides invaluable evidence for understanding the beginnings of the religion at a time when sources are generally scarce and often highly problematic. Scholarship on apocalyptic literature in early Judaism and Christianity frequently maintains that the genre is decidedly anti-imperial in its very nature. While it may be that early Jewish apocalyptic literature frequently displays this tendency, Shoemaker demonstrates that this quality is not characteristic of apocalypticism at all times and in all places. In the late antique Mediterranean as in the European Middle Ages, apocalypticism was regularly associated with ideas of imperial expansion and triumph, which expected the culmination of history to arrive through the universal dominion of a divinely chosen world empire. This imperial apocalypticism not only affords an invaluable backdrop for understanding the rise of Islam but also reveals an important transition within the history of Western doctrine during late antiquity.
How an antisemitic legend gave voice to widespread fears surrounding the expansion of private credit in Western capitalism The Promise and Peril of Credit takes an incisive look at pivotal episodes in the West’s centuries-long struggle to define the place of private finance in the social and political order. It does so through the lens of a persistent legend about Jews and money that reflected the anxieties surrounding the rise of impersonal credit markets. By the close of the Middle Ages, new and sophisticated credit instruments made it easier for European merchants to move funds across the globe. Bills of exchange were by far the most arcane of these financial innovations. Intangible and written in a cryptic language, they fueled world trade but also lured naive investors into risky businesses. Francesca Trivellato recounts how the invention of these abstruse credit contracts was falsely attributed to Jews, and how this story gave voice to deep-seated fears about the unseen perils of the new paper economy. She locates the legend’s earliest version in a seventeenth-century handbook on maritime law and traces its legacy all the way to the work of the founders of modern social theory—from Marx to Weber and Sombart. Deftly weaving together economic, legal, social, cultural, and intellectual history, Trivellato vividly describes how Christian writers drew on the story to define and redefine what constituted the proper boundaries of credit in a modern world increasingly dominated by finance.
Dana E. Katz reveals how Italian Renaissance painting became part of a policy of tolerance that deflected violence from the real world onto a symbolic world. While the rulers upheld toleration legislation governing Christian-Jewish relations, they simultaneously supported artistic commissions that perpetuated violence against Jews.
In Dark Mirror, Sara Lipton offers a fascinating examination of the emergence of anti-Semitic iconography in the Middle Ages The straggly beard, the hooked nose, the bag of coins, and gaudy apparel—the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages—why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals—not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself.
Published to accompany an exhibition at The Met Cloisters, this exquisite volume examines a treasure, hidden by a medieval Jewish family, which offers new insight into their world and their lost community. During a 19th century renovation of a confectioner's shop in the town of Colmar, France, workers chanced upon a precious hoard of medieval jewellery and coins hidden in a wall. The cache - known as the Colmar Treasure - is thought to have been concealed by a Jewish family prior to the outbreak of the Plague in 1348, when Jews across the region were tragically scapegoated and put to violent death. This exquisite volume, published to accompany an exhibition at The Met Cloisters, examines their legacy through the lens of the Colmar treasure, shedding light on what it reveals about the work, homes, worship and values of its owners. Accompanies an exhibition at The Met Cloisters from 22 July 2019 to 12 January 2020. Contents: Director's Foreword Acknowledgments Finding Treasure in Colmar Finding the Lost Jews of Colmar Unlocking a Medieval Jewel Box Catalogue Notes Bibliography Index
Jacob and Esau is a profound new account of two millennia of Jewish European history that, for the first time, integrates the cosmopolitan narrative of the Jewish diaspora with that of traditional Jews and Jewish culture. Malachi Haim Hacohen uses the biblical story of the rival twins, Jacob and Esau, and its subsequent retelling by Christians and Jews throughout the ages as a lens through which to illuminate changing Jewish-Christian relations and the opening and closing of opportunities for Jewish life in Europe. Jacob and Esau tells a new history of a people accustomed for over two-and-a-half millennia to forming relationships, real and imagined, with successive empires but eagerly adapting, in modernity, to the nation-state, and experimenting with both assimilation and Jewish nationalism. In rewriting this history via Jacob and Esau, the book charts two divergent but intersecting Jewish histories that together represent the plurality of Jewish European cultures.
