Thesis (M.A. in Religion)--Vanderbilt University, May 2006. / Title from title screen. Includes bibliographical references.

Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.

Thesis (M. Phil.)--University of Hong Kong, 2008 . / Also available in print.

Thesis (Ed.D)--Teachers College, Columbia University, 1964. / Typescript; issued also on microfilm. Sponsor: William J. Mahoney. Dissertation Committee: Justin Schorr. Includes bibliographical references.

Thesis (M.P.A.S.)--University of Southern California, 2005. / Includes bibliographical references (p. 60-61). Also available on the Internet.

No description available.

This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model. Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled. During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.

This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model. Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled. During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.

Thesis (Ph. D.)--Universiṭah ha-ʻIvrit bi Yerushalayim, Jerusalem, 2000. / Includes bibliographical references (p. 309-327).

No description available.