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dc.contributor.advisorWisse, Jacoben_US
dc.contributor.authorSchwartz, Mindy
dc.date.accessioned2019-07-10T17:24:48Z
dc.date.available2019-07-10T17:24:48Z
dc.date.issued2018-08-13
dc.identifier.citationSchwartz, Mindy. The Wicked Son as a Warrior in European Haggadot of the 14th-17th Century Presented to the S. Daniel Abraham Honors Program In Partial Fulfillment of the Requirements for the Completion of the Program Stern College for Women Yeshiva University August 13th 2018.en_US
dc.identifier.urihttps://hdl.handle.net/20.500.12202/4508
dc.identifier.urihttps://ezproxy.yu.edu/login?url=https://repository.yu.edu/handle/20.500.12202/4508
dc.descriptionThe file is restricted for YU community access only.en_US
dc.description.abstractBecause we lack the knowledge of these cultural cues, we will not be able to arrive at a definitive interpretation of this iconography. In fact, it is doubtful that we should be searching for one such interpretation at all, because, as art historian Michael Camille explains, “iconography need not have one univocal meaning or a single text that explains it.”5 Rather than look for definitive interpretation for the iconography of the wicked son a warrior, we will explore what Epstein calls, a “constellation of plausible meanings”.6 Because there are variations in the way this iconography is depicted, and because its use spans many centuries and communities, it is almost certain that it was interpreted differently at different times by different people. Abandoning the search for a single definitive interpretation allows us to recognize that a “plausible meaning” for one depiction of the wicked son may not be plausible for another, and that certain “plausible meanings” can apply simultaneously. This polyvocal approach is indeed more authentic to the period in which many of these Haggadot were made and when the iconography of the wicked son began to appear. It reflects the “midrashic mentalites” of medieval Jews “in which a polyvocality of interpretation was completely inherent.”7 It would thus “be anachronistic to present absolute interpretations for the iconography when its inventors themselves would likely have been open to a variety of possibilities. (from Introduction)en_US
dc.description.sponsorshipS. Daniel Abraham Honors Program of Stern College for Womenen_US
dc.language.isoen_USen_US
dc.publisherStern College for Women Yeshiva University.en_US
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectsenior honors thesisen_US
dc.subjectthe Wicked Sonen_US
dc.subjectHaggadahen_US
dc.subjectPassoveren_US
dc.subjectPesachen_US
dc.subjectHaggadah (critical assessment)en_US
dc.titleThe Wicked Son as a Warrior in European Haggadot of the 14th-17th Century.en_US
dc.typeThesisen_US


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