Найти книгу: "Sanctifying the Name of God"

How are martyrs made, and how do the memories of martyrs express, nourish, and mold the ideals of the community? Sanctifying the Name of God wrestles with these questions against the background of the massacres of Jews in the Rhineland during the outbreak of the First Crusade. Marking the first extensive wave of anti-Jewish violence in medieval Christian Europe, these «Persecutions of 1096» exerted a profound influence on the course of European Jewish history. When the crusaders demanded that Jews choose between Christianity and death, many opted for baptism. Many others, however, chose to die as Jews rather than to live as Christians, and of these, many actually inflicted death upon themselves and their loved ones. Stories of their self-sacrifice ushered the Jewish ideal of martyrdom—kiddush ha-Shem, the sanctification of God's holy name—into a new phase, conditioning the collective memory and mindset of Ashkenazic Jewry for centuries to come, during the Holocaust, and even today. The Jewish survivors of 1096 memorialized the victims as martyrs as they rebuilt their communities during the decades following the Crusade. Three twelfth-century Hebrew chronicles of the persecutions preserve their memories of martyrdom and self-sacrifice, tales fraught with symbolic meaning that constitute one of the earliest Jewish attempts at local, contemporary historiography. Reading and analyzing these stories through the prism of Jewish and Christian religious and literary traditions, Jeremy Cohen shows how these persecution chronicles reveal much more about the storytellers, the martyrologists, than about the martyrs themselves. While they extol the glorious heroism of the martyrs, they also air the doubts, guilt, and conflicts of those who, by submitting temporarily to the Christian crusaders, survived.

As an artist, Deborah Sokolove has often been surprised and dismayed by the unexamined attitudes and assumptions that the church holds about how artists think and how art functions in human life. By investigating these attitudes and tying them to concrete examples, Sokolove hopes to demystify art–to bring art down to earth, where theologians, pastors, and ordinary Christians can wrestle with its meanings, participate in its processes, and understand its uses. In showing the commonalities and distinctions among the various ways that artists themselves approach their work, Sanctifying Art can help the church talk about the arts in ways that artists will recognize. As a member of both the church and the art world, Sokolove is well-positioned to bridge the gap between the habits of thought that inform the discourse of the art world and those quite different ideas about art that are taken for granted by many Christians. When art is understood as intellectual, technical, and physical as well as ethereal, mysterious, and sacred, we will see it as an integral part of our life together in Christ, fully human and fully divine.