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Dreaming of Michelangelo is the 1st book-length research to discover the highbrow and cultural affinities among sleek Judaism and the existence and paintings of Michelangelo Buonarroti. It argues that Jewish intellectuals chanced on themselves within the picture of Michelangelo as an "unrequited lover" whose paintings expressed loneliness and a eager for humanity's reaction. the trendy Jewish mind's eye therefore grew to become consciously idolatrous. Writers dropped at life—literally—Michelangelo's sculptures, seeing in them their very own worldly and emotional struggles. The Moses statue particularly grew to become an archetype of Jewish liberation politics in addition to a vital concentration of Jewish aesthetics. And such affinities prolonged past sculpture: Jewish viewers to the Sistine Chapel reinterpreted the ceiling as a manifesto of prophetic socialism, without its Christian parts. in response to Biemann, the phenomenon of Jewish self-recognition in Michelangelo's paintings provided an alternative choice to the failed gives you of the German enlightenment. via this unforeseen discovery, he rethinks German Jewish background and its connections to Italy, the Mediterranean, and the artwork of the Renaissance.

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Four (Autumn 2007): 455–77. 60. Ilse Grubrich-Simitis, Freuds Moses-Studie als Tagtraum: Ein biographischer Essay (Frankfurt am major: S. Fischer, 2009), seventy six. sixty one. Yosef Hayim Yerushalmi, Freud’s Moses, 74–79, esp. seventy seven. sixty two. “. . . e seguitino gli Ebrei di andare, come fanno ogni sabato, a schiera e maschi e femine, come gli storni, a visitarlo [il Moisè] ed adorarlo, che non cosa umana ma divina adoreranno. ” Vasari, Vita di Michelangelo, 26–27. Linking Vasari’s language to the Dante’s, Barolsky writes: “Thus the Jews in Vasari’s procession are vicious like these Dante beholds in hell. ” Paul Barolsky, Michelangelo’s nostril: A fable and Its Maker (University Park: Pennsylvania nation college Press, 1990), ninety five. Cf. additionally Dante, Purgatorio 10. 100–103. sixty three. Cf. Barolsky, Michelangelo’s nostril, 43–44. additionally, Erwin Panofsky, “The Neo-Platonic circulation and Michelangelo,” in experiences in Iconology: Humanistic topics within the artwork of the Renaissance (London: Oxford college Press, 1939), 191–92. sixty four. Attilio Milano, Storia degli ebrei in Italia (Torino: Einaudi, 1963), 238. sixty five. Ermanno Loevinson, Roma Israelitica: Wanderungen eines Juden durch die Kunststätten Roms (Frankfurt am major: J. Kauffmann, 1927), 65–66. sixty six. Cf. ibid. , sixty six: “Die Wirkung der Mosesstatue auf den Beschauer ist eine derartige, daß er nicht das Grabmal eines Papstes, sondern ein solches für den Stifter der jüdischen faith vor sich zu haben wähnt [The statue of the Moses has any such powerful impression at the beholder that it now not looks as a monument for the pope, yet as one for the founding father of Judaism itself]. ” additionally, Asciano Condivi, Vita di Michelagnolo Buonarroti (1553), ed. Giovanni Nencioni (Florence: Studio according to Edizionit Scelte, 1998), forty seven. sixty seven. Loevinson, Roma Israelitica, sixty seven. sixty eight. Ernst Gombrich, “Freud’s Aesthetics,” come upon, ed. Frank Kermode and Melvin J. Lasky, 26 (January 1966): 33. sixty nine. Loevinson, Roma Israelitica, sixty seven. 70. See for example, Stephen Bertman, “The Antisemitic beginning of Michelangelo’s Horned Moses,” Shofar: An Interdisciplinary magazine of Jewish reports 27, no. four (Summer 2009): 95–106. seventy one. Henry George, “Moses,” Ost und West 1, no. three (March 1901): 161–76. initially as Moses: A Lecture, brought at St. Andrew’s corridor, Glasgow, Scotland, December 28, 1884 (New York: Sterling, 1897). seventy two. Theodor Zlocisti, “Grundakkorde jungjüdischer Kunst,” Ost und West 2, no. four (April 1902): 227–34. seventy three. Bernhard Münz, “Moses im Lichte der jüdischen Volksseele,” Ost und West 2, no. 1 (January 1902): 10. Münz used to be additionally the writer of Marie Eugenie delle Grazie als Dichterin und Denkerin (Vienna: Braumüller, 1902). word his dialogue of delle Grazie’s Italische Vignetten, fairly, her poems on Rome (ibid. , 14–20). seventy four. Henry George et al. , Moses (Berlin: Jüdischer Verlag, 1905); Hugo Bergmann, ed. , Worte Mosis (Minden: Bruns Verlag, 1913). seventy five. G. Kutna, “Moses in der bildenden Kunst,” Ost und West nine, nos. 8–9 (August 1909): 518. seventy six. Ibid. seventy seven. Josef Carlebach, “Die biblische Gestaltenwelt Michelangelos,” Menorah 8–9 (August 1924): 15. seventy eight. Hermann Vogelstein and Paul Rieger, Geschichte der Juden in Rom, 2 vols.

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