"Um unserer Sünden willen" : ein Kapitel aus dem unveröffentlichten "Messias-Roman der Renaissance" - "David Reubeni"

Max Brod

Körperliche Renaissance der Juden [Rezension]

B. B.

Urkunden zur Geschichte der Mathematik im Mittelalter und der Renaissance

hrsg. von Maximilian Curtze

Achad ha-am: ein Denker und Kämpfer der jüdischen Renaissance : Vortrag

Mathias Acher

Die illuminierten Handschriften und Einzelminiaturen des Mittelalters und der Renaissance in Frankfurter Besitz

hrsg. von Georg Swarzenski. Bearb. von Rosy Schilling

La renaissance de la littérature hébraïque (1743-1885) : essai d'histoire littéraire

par Nahum Slouschz (Ben-David)

Crossed-arch vaults in late-gothic and early Renaissance vaulting: a problem in building technology transfer

Crossed-arch vaults are a particular type of ribbed vaults. Their main feature is that the ribs that form the vault are intertwined, forming polygons or stars and leaving an empty space in the middle. The firsts appear in Córdoba in the second half of the 10th Century. Afterwards, the type diffused through Spain and North Africa, 11th_13th Centuries. These vaults reappear in Armenia in the 13th Century. In the 14th and 15th Century a few examples are found both in England (Durham, Raby) and Central Europe (Prague, Landshut, Vienna). At about the same time, Leonardo da Vinci produced designs for the Tiburio (Ciborium) of Milan cathedral with a cross-arched structure and proposed tests to assess the strength; he also, made use of the same pattern of vault for Renaissance centralized churches. Eventually, the type can be tracked through the 17th (Guarini) and 18th (Vittone) Centuries, until Spanish post war architecture in the 1940-60s (Moya). Some questions arose, which so far, have not been answered. How was it possible that a particular type of vault had such enormous geographical spread? How was it transmitted from Córdoba to the Caucasus? The matter is one of transfer of knowledge, ideas, and technology; it relates both aesthetics and construction.

The African-American Islamic Renaissance and the Rise of the Nation of Islam

This dissertation examines African-American Islamic culture from 1920 through 1959, a period I label the "African-American Islamic Renaissance" (AAIR). The AAIR is characterized by a significant increase in interest in Islam, extreme diversity in views about Islam, and the absence of a single organization dominating African-American Islamic culture for a significant amount of time. Previous works dealing with African-American Islam in this period have failed to fully recognize these features, particularly the last of these. As a result, explanations for the rise of the Nation of Islam (NOI) have not satisfactorily explained why it was only the NOI--and not other Islamic groups that were more popular than the NOI up until the mid-1950s--that became a "mass movement," gaining the allegiance of tens of thousands of African Americans. There has been some tendency, for instance, to assume that the NOI was the most popular African-American Islamic group by the early 1950s, a notion that is probably an inference drawn from two other popular but inaccurate assumptions: that the NOI's rise was due primarily to its radical racialized doctrines and its charismatic leaders, particularly Malcolm X, who became a popular minister for the group in the early 1950s. I argue, however, that the NOI was in fact not the most popular African-American Islamic group until at least 1955, and even as late as 1959 its official membership numbers were not particularly large by AAIR standards. Also, its doctrines were not especially unique in the AAIR, nor was its having extremely charismatic leaders. I contend that the success of the NOI in the mid-to-late 1950s was the result of three levels of changes at the time: internal, external in the AAIR community, and external in the broader U.S, culture.

Modern Classics : Andy Warhol and the Renaissance Masters

"This paper explores Warhol’s final and largest series entitled the Last Supper series in which the artist appropriated the work of Leonardo da Vinci’s original fifteenth century painting, replicating the image through repetition, radical cropping, and washes of neon color. While many scholars conclude this group of works is inspired by Warhol’s religious beliefs, others interpret these paintings as typical Warhol appropriation without religious association, but consistent with the artist’s interest in the cultural commodity of famous images"

The role of EU Special Representatives in the post-Lisbon foreign policy system: A renaissance? IES Policy Brief Issue 2012/02/June 2012

Summary. EU Special Representatives have been deployed since 1996 in order to contribute to the EU’s crisis management efforts in various crisis regions. As they are not part of the formal hierarchy of the European External Action Service and thus a rather flexible foreign policy instrument at the disposal of the Member States, new special representatives have been appointed in 2011 and 2012. This Policy Brief argues that the representatives’ autonomy must not necessarily lead to ‘clashes of competence’ with the EU’s diplomatic service.