This thesis embraces a cross-disciplinary approach to the examination of Jewish body culture, and integrates aspects of Jewish studies with new theories of gender and visual culture, thus contributing specifically to the field of Jewish body culture in relation to the visual arts. It demonstrates that at the fin de si??cle the Zionist artist, Ephraim Moses Lilien, integrated Nordau's concept of 'Muscular Jewry' and Buber's notion of a 'Jewish Cultural Renaissance' in order to figure the 'New Jew'. It establishes that Lilien's figuring of 'Muscular Jewry' as a visibly athletic, explicitly heterosexual, male body, bearing Jewish distinction, was developed as a crucial strategy to overcoming the twin dilemmas of Jewish alterity: antisemitism and assimilation. By proving that Lilien's art serves as a crucial model for both regenerating the Jewish male body and resisting antisemitic projections of decadence and degeneracy, this thesis expands upon current scholarship. It applies Margaret Olin's theory of ' visual redemption' to Lilien's figuring of the 'New Jew' and Daniel Boyarin's articulation of Homi Bhaba's Post-Colonial theory of mimicry as imitation, inversion and resistance to determine how Lilien's images functioned as an art of resistance against the dominant Christian European culture. By demonstrating how Lilien drew upon the modern and rebellious Jugendstil to figure the 'New Jew' and produce a new, defiant and authentic Jewish visual culture, this thesis proves he transformed the image of the diaspora Jew into the New Hebrew or Israeli tsabar, forty years before it became part of Israeli identity. Nevertheless, this thesis also uncovers the double-binded predicament inherent to Lilien's quest; despite his attempt to use mimicry of the athleticised, hyper-masculine, genetically pure, normative body as a strategy to resist antisemitic rhetoric and invert its projection, the closest parallel to Lilien's figure of 'Muscular Jewry' remained this same image which became instrumental to eugenic campaigns across Europe, particularly in Nazi Germany. Ultimately what is exposed by this thesis is the illusion underpinning Lilien's figuring of the 'New Jew'; that the Christianised Eurocentric body culture, designed to eradicate decadence, degeneration and Semitism, could resolve the problematic struggle for a Jewish national identity.

Diss.--Art history--Santa Barbara (Calif.)--University of California, 2002. / Bibliogr. p. 345-382.

Thesis (Ph.D.)--Brown University, 2008. / Advisor : Catherine Wilkinson Zerner. Vita. Includes bibliographical references (leaves 176-191) and index.

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. John Corrigan, Florida State University, College of Arts and Sciences, Dept. of Religion. Title and description from dissertation home page (viewed 5/4/04). Includes bibliographical references.

This thesis proposes that Egyptian tomb painting served as a housing for the Ka. The research examined the relationship between the tomb paintings and the Ka within the contemporary religious literature finding that they served this purpose. The first relationship incorporates the "Opening of the Mouth" ceremony which returns life to the deceased in both the texts and illustrations. The ambiguous nature of the texts refers the returning of life to the deceased. This includes all the parts of the soul (Ka, Ba, and Akh) and all physical and artistic representations. These paintings also support the Ka with depictions of food offerings. A secondary question addresses the identification of the deceased appearing in the paintings. Many variables apply in identification of the deceased. They include hieratic scale, canonical pose, hieroglyphics, accoutrements, and the orientation of the supporting figures. / Department of Anthropology

The importance of the Hittites derives from the fact that they were an organized central power extending over a large territory within which a number of societies maintained their language, culture and traditions. The archaeological findings of Hattusha, the Hittite capital reveal that the city had reached its maximum limits during the Great Kingdom period and the most magnificient and monumental buildings of the city are dated to this period. Yazilikaya, the open air sanctuary which reached to its final form during the Great Kingdom period too, is an outstanding example of the many temples constructed in Hattusha that belong to different periods and the dimensions of which are quite dfferent from each other. Among the archaeological findings of Hattusha, the royal archives are other important material evidence as they transmit us the Hittites&#039 / perception of the cosmos. However, understanding the antique world which is at a &quot / distance&quot / both historaiclly and conceptually is not an easy task. In this context, rethinking and reinterpreting the meaning attributed to Yazilikaya, th eopen air sanctuary, can only be achieved by considering the political, architectural and religious aspects together. This study is an attempt to reinterpret the material knowledge by drawing the appropriate limits of this knowledge with a contextual approach.

This thesis embraces a cross-disciplinary approach to the examination of Jewish body culture, and integrates aspects of Jewish studies with new theories of gender and visual culture, thus contributing specifically to the field of Jewish body culture in relation to the visual arts. It demonstrates that at the fin de si??cle the Zionist artist, Ephraim Moses Lilien, integrated Nordau's concept of 'Muscular Jewry' and Buber's notion of a 'Jewish Cultural Renaissance' in order to figure the 'New Jew'. It establishes that Lilien's figuring of 'Muscular Jewry' as a visibly athletic, explicitly heterosexual, male body, bearing Jewish distinction, was developed as a crucial strategy to overcoming the twin dilemmas of Jewish alterity: antisemitism and assimilation. By proving that Lilien's art serves as a crucial model for both regenerating the Jewish male body and resisting antisemitic projections of decadence and degeneracy, this thesis expands upon current scholarship. It applies Margaret Olin's theory of ' visual redemption' to Lilien's figuring of the 'New Jew' and Daniel Boyarin's articulation of Homi Bhaba's Post-Colonial theory of mimicry as imitation, inversion and resistance to determine how Lilien's images functioned as an art of resistance against the dominant Christian European culture. By demonstrating how Lilien drew upon the modern and rebellious Jugendstil to figure the 'New Jew' and produce a new, defiant and authentic Jewish visual culture, this thesis proves he transformed the image of the diaspora Jew into the New Hebrew or Israeli tsabar, forty years before it became part of Israeli identity. Nevertheless, this thesis also uncovers the double-binded predicament inherent to Lilien's quest; despite his attempt to use mimicry of the athleticised, hyper-masculine, genetically pure, normative body as a strategy to resist antisemitic rhetoric and invert its projection, the closest parallel to Lilien's figure of 'Muscular Jewry' remained this same image which became instrumental to eugenic campaigns across Europe, particularly in Nazi Germany. Ultimately what is exposed by this thesis is the illusion underpinning Lilien's figuring of the 'New Jew'; that the Christianised Eurocentric body culture, designed to eradicate decadence, degeneration and Semitism, could resolve the problematic struggle for a Jewish national identity.

Thesis (Th. M.)--Dallas Theological Seminary, 1997. / Includes bibliographical references (leaves 67-73).

Thesis (M.F.A.)--Georgia State University, 2009. / Title from file title page. Mark Burleson, committee chair; Susan Richmond, Constance Thalken, committee members. Description based on contents viewed June 12, 2009. Includes bibliographical references.

Thesis (D. Min.)--Austin Presbyterian Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 186-200).