ARTH 369/2A The City of Jerusalem: Ideas and Images (Studies in Near Eastern Art and Architecture)
Monday 15:00-17:30 EV-1.615. Instructor: Dr. Loren Lerner email: loren.lerner@sympatico.ca; 514-848-2424
ext. 4698 Office hours: EV 3.768, Tuesday, 13:00-15:00, by appointment.
Table of Contents:
Basic Information
Schedule of Lectures and Required Readings
Assignments
Assignment 1: minor reading, comment and question assignment: 5%
How to Analyse a Scholarly Reading
Assignment 2: minor paper assignment 15%
How to Analyze a Work of Art
How to Write about Buildings
Assignment 3: major research paper or creative research equivalent: 40%
Assignment Specifications
Israeli-Jewish artists
Palestinian and Israeli-Arab artists
Non-Israeli artists
Buildings and Spaces in Jerusalem
Buildings and Spaces with Jerusalem associations in Montreal
How to Write an Art History Paper
Assignment 4 : final take-home exam 40%
Suggested Readings
Classroom Behaviour; Language of Instruction, Assignments, and Tests; Academic Integrity
Basic Information
Important Dates:
One week: Assignment 1 e-mail attachment to loren.lerner@sympatico.ca due Thursday at 5:00 P.M. of a week
to be assigned to students.
October 6: Assignment 2
loren.lerner@sympatico.ca
due
before
the
lecture
begins;
paper
and
email
attachment
to:
Week of October 13: Student meetings with Loren Lerner to discuss major assignment
November 24: Assignment 3 due before the lecture begins, paper and email attachment to
loren.lerner@sympatico.ca. Meeting with Loren and fellow students in EV 3.760 (individual time slots to be
scheduled) November 26, 2:00-9:00, Friday November 28, 9:00-5:00.
Tuesday December 2 (make-up class): Exam topics for the take home exam to be distributed and discussed in
class.
Tuesday December 16: Assignment 4: Take Home Exam due. Send email attachment to
loren.lerner@sympatico.ca before 14:00 P.M. and bring exam to Loren Lerner’s office EV 3.768 between 14:00
and 15:00 P.M.
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Assignments and the exam must be typed, double spaced, 12-point Times Roman type, standard one-inch
margins, WORD document. Endnotes and bibliography, Chicago Style citation. Images with full citations must
be placed at the end of the paper. Copy and paste the images into the WORD document. See citation examples
in Jerusalem Art History Journal.
Delivering Assignments: Assignments should be brought to class and emailed to as attachments
to loren.lerner@sympatico.ca before the lecture begins. Assignments delivered after class begins will be
considered late. If you are unable to deliver the paper assignment personally, you should arrange to have a
printed version delivered to the department. Place the assignment in the Art History box (3rd floor, just outside
the Department door), never on or under the professor’s door. Remember to put the professor’s name and your
student number on the assignment. Late assignments will be docked 2 marks each day. The clock starts at 15:00
on the due date. No extension on reading assignment or the final exam.
Schedule of Lectures and Required Readings:
Each lecture has two types of required readings:
*Readings available electronically via Concordia Libraries; for class discussion and take-home exam.
>Readings from the Jerusalem Art History Journal: An Undergraduate Journal available via FADIS; readings
for take-home home by students in this Jerusalem course from last year.
To see the images for each lecture search FADIS in Google and log in with the username "Jerusalem” and the
password “student.” Search for the course. Click on “Course Materials.”
September 8: Introduction to the City of Jerusalem: History and Approaches
September 15: Jewish Yerushalayim
*Levine, Lee I. "Jerusalem in Jewish History, Tradition, and Memory," in Jerusalem: Idea and Reality
[electronic resource], eds. Tamar Mayer and Suleiman Ali Mourad (London: Routledge, 2008), 27-46.
>Campbell, Anna. Design for an Ideal Starlight
>Morneau-Hébert, Rachel. "Exploration picturale de la superposition des cultures sur le mont du temple."
>Martel, Patrick. "Jerusalem Belongs to No One and Everyone." Jerusalem Art History Journal.
>Mazzonna, Eduardo. "Three Religions, Three Sacred Sights." Jerusalem Art History Journal
>Peters, Élise. Jérusalem, le coeur du monde, Jerusalem Art History Journal.
September 22: Christian Hagiapolis Ierousalem/Hierosolyma
*Ousterhout, Robert. "Architecture as Relic and the Construction of Sanctity: The Stones of the Holy
Sepulchre." Journal of the Society of Architectural Historians 62, no. 1 (March 2003): 4-23.
>Cossar, Elsbeth. "Immaculate Mary: A Reflection on the Assumption of the Blessed Virgin Mary and the
Tomb of the Virgin in the Kidron Valley, Jerusalem." Jerusalem Art History Journal
>Montpetit, Gabrielle. "Roman Attitudes Towards Jerusalem: Titus and Constantine." Jerusalem Art History
Journal
>Wexler, Samantha. "Representations of Jesus in Early Christian Art." Jerusalem Art History Journal
>Zhang, Xin-yun, "Dominus Flevit: Reconciling Relics, Historical and Biblical Narrative through Christianity."
Jerusalem Art History Journal
September 29: No class
October 6: Muslim Al Quds
*Najm, Ra'ef. "Islamic Architectural Character of Jerusalem: With Special Description of the al Aqsa and the
Dome of the Rock." Islamic Studies 40, no. 3 (2001):721-734.
>Belshaw, Ellen. "Al-Masjid al-Aqsa: The Underappreciated Third Holiest Islamic Site." Jerusalem Art History
Journal
>Patel, Ketan. "The Dome of the Rock." Jerusalem Art History Journal.
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>Raudsepp, Stephanie. "A Study of Islamic Geometric Tile Design." Jerusalem Art History Journal.
October 13: Thanksgiving, no class
October 20: Jerusalem and the Crusader Period (1095-1291)
*Folda, Jaroslav. "Commemorating the Fall of Jerusalem: Remembering the First Crusade in Text, Liturgy and
Image," Nicholas Paul and Suzanne Yeager, ed. Remembering the Crusades Myth, Image, and Identity
[electronic resource] (John Hopkins University Press, 2012), 125-145.
>Bergeron, Chloé. "The Illuminated Manuscript: Representation of the Crusades for Jerusalem," Jerusalem Art
History Journal
>Wiley, Faith. Histoire d’Esme: "An Imagined Story of a Ten-year Old Pilgrim to Jerusalem in the Twelfth
Century." Jerusalem Art History Journal
October 27: Islamization of Space and Society in Mamluk Jerusalem (1260-1517)
*Grabar, Oleg. "Space and Holiness in Medieval Jerusalem." Islamic Studies 40, no. 3/4 Special Issue:
Jerusalem (Autumn-Winter 2001): 681-692.
>Carmichael, Bronwyn. "Lady Tunshuq’s Palace: A Lasting Legacy of Mamluk Modernization." Jerusalem Art
History Journal.
November 3: Ottoman Jerusalem and Modernization (1516-1917)
*Nassar, Issam. "'Biblification' in the Service of Colonialism: Jerusalem in Nineteenth-century Photography."
Third Text 20, no. 3/4 (May-July, 2006): 317–326.
>Guerin, Anne-Marie. "Preserving the Zion Gate: The Role of Conservation in the Middle East." Jerusalem Art
History Journal.
>Herkelian, Herag. "Jerusalem through the Eyes of Armenian Photographers: Garabed Krikorian, Johannes
Krikorian, and Elia Kahvedjian." Jerusalem Art History Journal.
November 10: Pilgrimages to Jerusalem, the Way of the Souls; New Jerusalem, Heavenly Jerusalem
*Ousterhout, Robert. "'Sweetly Refreshed in Imagination': Remembering Jerusalem in Words and Images."
Gesta 48, no. 2 (2009): 153-168.
>Charlebois, Amanda. "The Artistic Apocalypse: Three Religious Depictions of the End of Days." Jerusalem
Art History Journal.
>Graorac, Sara. "Jerusalem Syndrome: A Photo Essay." Jerusalem Art History Journal.
November 17: Jerusalem under the British Mandate (1916-1948)
*Cohen, Nurit Shilo. "The 'Hebrew Style' of Bezalel, 1906-1929." Journal of Decorative and Propaganda Arts
20 (1994): 140-163.
November 24: Israeli-Jewish artists and Zion
*Gal, Nissim. "Bare Life: The Refugee in Contemporary Israeli Art and Critical Discourse." Art Journal 68,
no. 4 (Winter 2009):24-43.
>Beaulieu-Sherping, Alison. "Étude comparative des oeuvres photographiques de David Rubinger à deux
moments de sa vie." Jerusalem Art History Journal.
>Gauthier, Valerie. "Symbols and Motifs: Depictions of the Heavenly Realm in Mordecai Ardon’s At the Gates
of Jerusalem." Jerusalem Art History Journal.
>Scott, Braden Scott. "From the Depths of the Matrixial Sea: Reviving Loss and Memory in Contemporary
Israeli Art." Jerusalem Art History Journal.
December 1: Palestinians Artists, Nationalism and Self-Determination
*Ankori, Gannit. "Re‐Visioning Faith." Third Text 20, no. 3/4 (2006): 379-390.
*Boullata, Kamal. "Facing the Forest: Israeli and Palestinian Artists." Third Text 3, no.7 (1989): 77-95.
>Chaumont, Marie. "Mona Hatoum: Alluringly Near and Devastatingly Far." Jerusalem Art History Journal.
>Hornstein, Stéphanie. "Expressing Exile as a Shared Experience: The Work of Steve Sabella." Jerusalem Art
History Journal.
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Tuesday December 2 (Make-Up Class): Jerusalem To-day: Architecture, Urban Space and Contested
Identities
*Nitzan-Shiftan, Alona. "On Concrete and Stone: Shifts and Conflicts in Israeli Architecture." Traditional
Dwellings and Settlements Review, 21, no. 1 (Fall 2009): 51-65.
>Mercier, Vincent. "Yeshiva." Jerusalem Art History Journal.
>Parent, Charlotte. "Israeli Archaeology in Jerusalem: National Heritage, Identity, and Partiality." Jerusalem
Art History Journal.
>Della Foresta, Veronica. "Bridging the Divide: JR and Marco's Face2Face Project and Israel-Palestine
Separation Wall." Jerusalem Art History Journal.
Assignments
Assignment 1: one minor reading, comment and question assignment: 5%
Minor reading assignment: (5 marks) One week (to be assigned). You will compose in writing two questions
about the required reading (*) for classroom discussion. Each question should include a short quotation with the
page number from the reading, your comment of one to two sentences, your question in one to two sentences
and if possible, the citations of the image(s) on FADIS from the week's lecture pertaining to your question.
You email your questions to loren.lerner@sympatico.ca Thursday before 5:00 p.m. Loren will compile these
responses for a class discussion of ca.15 -20 minutes. Your contribution will remain anonymous.
How to Analyse a Scholarly Reading:
Consider the general subject/problem/research areas, the scope (what the author intends to discuss and why),
and the central idea.
Analyse the various parts of the article so that you can establish its strengths and weaknesses. Considering both
strengths and weaknesses allows you to explore the article more thoroughly.
Consider the following questions; however, not all will be appropriate for every article.
What is the objective/purpose of the research, study or work discussed in the article? Does the author
accomplish this objective?
Does the author define any terms? Are the definitions specific, useful?
What is the main issue being discussed?
What are the major concepts discussed in the article?
What are the important facts presented in the article? To quickly establish this, look at the conclusion, as this is
where the facts and findings are summarised.
Does the author suggest areas for further research or discussion?
Were the findings reported in a consistent and clear format?
Did the article fail to acknowledge and explain any limitations?
Was the logic clear and were claims properly supported with convincing data? Did you spot any fallacies?
Did you agree with the thesis or believe the findings? If everything was logical, clear, and well-ordered, yet you
remain sceptical, how would you explain that? Perhaps a fundamental difference in values would explain it, or
perhaps you know of counter-evidence not considered by the author.
See:
http://writingcenter.tamu.edu/2005/types-communication/academic-writing/analyzing-scholarly-articles/
http://library.macewan.ca/journal_evaluation
Assignment 2: minor paper assignment 15%
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October 6: short 2 to 3-page writing assignment (double-spaced, Times New Roman, standard one inch
margins, WORD document) due before the lecture begins, paper and email attachment to
loren.lerner@sympatico.ca. The essay is 2 pages but you are welcome to write a longer paper. Begin section 1
and 2 on a separate page.
Step One:
View ONE of these videos on Jerusalem.
The History of Jerusalem - Documentary
http://www.youtube.com/watch?v=Hf1uhOPst8M
Temples of Jerusalem and the Ark of the Covenant
http://www.youtube.com/watch?v=Nw90MGaiEAo
Jesus of Jerusalem Documentary http://www.youtube.com/watch?v=OpDVeIroZ2k
Jerusalem: A Cup of Trembling http://www.youtube.com/watch?v=VgzOW5T-ETQ
Battle for the Holy Land - Jerusalem http://www.youtube.com/watch?v=Bj-n2ZeXeZc
God vs Satan: The Final Battle [History Channel] http://www.youtube.com/watch?v=ThL1wp445A8
Step Two:
Select four to five works of art to replace the images on one segment the video. This can include works of art
(paintings, drawings, sculptures, manuscript and book illustrations), buildings, decorative arts (bowls,
metalwork), archaeological sites, sculptures, and photographs by professional photographers.
Your selection can come from the images for the thirteen lectures of this course. Search FADIS in Google and
log in with the username "Jerusalem” and the password “student.” Search for the course. Click on “Course
Materials.”
and, or
Google "images" with key words such as: Jerusalem in paintings; Jerusalem in photography; Holy Sepulchre in
art; Jerusalem 19th century art; Jerusalem Ottoman; Jerusalem ancient; Jerusalem crusades; Christ Mount of
Olives painting; Second Temple of Jerusalem destroyed, etc.
Consider how there are marked differences between visual and verbal argumentation. Pictures have the power
to communicate arguments in ways that may surpass that of words, particularly as people increasingly resort to
a variety of texts to make their arguments. Analyse how a segment of the visual representation of Jerusalem in
this video are crucial to our understanding of how we, as viewers, are influenced or persuaded. Can works of art
effect the narration so as to change our reaction and interpretation of the words of the narrator?
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Title page: Your name and title of the video and the time - segment you considered.
Page one: Explain the reasons you selected the four to five works or art or architecture instead of the images on
the video. For each image provide the artist's/architect's names (if you selected a work of art or architecture and
the name is known), the title(s) of the work(s) or locations, and the date (s).
Page two: Describe and Analyse ONE of the images you selected.
-For this analysis you can refer to information from Wikipedia and other Internet sources. No books or articles
required for this assignment.
Cite these sources at the end of your paper following the Chicago Citation Style. See citation examples in
Jerusalem Art History Journal.
http://www.chicagomanualofstyle.org/tools_citationguide.html
http://library.concordia.ca/help/howto/citations.html
-No quotations are permitted for this assignment.
-Include pictures of the work you selected for analysis at the end of your paper. Copy and paste these pictures,
one picture per page, into your WORD document with the image citation.
-Discover how various parts of an image support a larger idea or concept
-Demonstrate how explicit parts combine to form implicit wholes
-Address specific ideas (how, for example, an idea of the city is supported by elements within an image), or
more theoretical positions (how, for example, the parts of an image speak to an understanding of Islam).
-Use as worksheets How to Analyze a Work of Art and How to Write about Buildings below:
How to Analyse a Work of Art
Analyzing a Work of Art: An analysis is separating into parts to understand the whole
Basic questions: What is my first response to the work? (later you may modify or reject this response)? When
and where was the work made? What is the title? Does it help to illuminate the work?
subject matter: What is the subject matter? Who or what can be identified in the picture? What if anything is
happening? Two pictures of the same subject matter can express different meanings. The subject matter can be
transformed by the artist, infused with intellect and feeling, in how the work is related to form. Form includes
such things as the size of the work, the kind of brush strokes in a painting, or the surface texture of a sculpture.
To get at the meanings of a work we have to interpret the subject matter, the material and the form as well as the
socio-historic content and if known the artist's intentions. Gender, age, political convictions and social values
will, to some degree, determine the meaning of a work.
figure painting: If the picture is a figure painting, what is the relation of the viewer's (and the artist's) gaze to
the figure(s)? If there is only one figure, is it related to the viewer by a gaze or a gesture? If the figure seems
posed do you agree that the posing is a form of offering the self (perhaps provocatively) to the viewer?
portrait: How is the portrait not simply a representation of a face that reveals the inner character but also a
presentation or construction created by the artist and the sitter? How much of the figure does the artist show,
how much space does the artist cause the figure to occupy and what effects are thus gained? What do the
clothing, furnishing, accessories and facial expression contribute to our sense of the figure's personality?
What is the setting? Is the sitter portrayed in a studio setting or his, her own surroundings?
landscape: What is the relation between human beings and nature? Are the figures at ease in nature, dwarfed by
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it? What does the landscape say about the society for which it was created? How does the artist present a
"social construction" of nature, nature as a hospitable place, or part of an endangered heritage or as a world
we have lost or a place where a weary soul can find rest and nourishment?
medium: What does the medium contribute? If the work is an oil painting, is the paint put on evenly, or
heavily, giving a rich appearance and applied so thickly that it stands out from the surface to catch the light? Or
is it applied thinly, layers of translucent coloured oil glazes so that light passes through the layers producing a
soft radiant effect?
colour: Is the colour imitative of appearances or expressive or both? How are the colours related - bold contrast
or gradual transitions? What are the expressive qualities of the colours?
light: What is the effect of light in the picture? Does it produce sharp contrast, brightly illuminating some parts
and throwing others into darkness or does it by means of gentle gradations unify most or all of the parts? Is the
light theatrical or natural, disturbing or comforting? Is light used to create symbolic highlights?
space: Do the objects or figures share the space evenly or does one overpower another taking most of the space
or light? What is the focus of the composition, i.e. the ordering of the parts into a whole by line, colour, and
shape. Is it something grasped at an initial glance or only after close study? Is the composition symmetrical or
diagonally recessive? Are the figures harmoniously related by a similar stance or shared action or are they
opposed by diagonals thrusting at each other? Diagonals may suggest motion or animation or instability,
horizontal lines tranquillity (like reclining figures), vertical lines a more vigorous stability.
depth: Does the artist convey depth, that is recession in space? If so, how? If not, why not? How is depth
indicated, by overlapping, foreshortening, contour shading, hatching, shading or modelling, cast shadows? Is
the perspective linear (parallel lines receding to give illusion of converging and meeting at a single point on the
horizon)? Or does the work depend on aerial perspective for its effect, on scaled variations of colour, tone and
form as perceived at different distances?
shape, size: What is the effect of the shape and size of the work? For example, a larger than life figure or
portrait will be different from one 10 inches high.
comparison: The most important factor for comparison is time and place because it brings into focus various
factors of style and form. Comparisons of artworks that are products of the same place but different times reveal
patterns of conventions. When conventions change in some fundamental ways one period has ended and
another begun. Comparison across these historical divides helps to highlight the periods giving them an
identifiable character.
conventions: subject matter: persistent images, actions, and symbols in art works over time; cultural
conventions (social influences): persistent ideas, values, beliefs and interests that explain why something
produced in a particular environment looks as it does; formal and stylistic conventions: standardized
regularized visual devices which persist largely unchanged over a certain time and which accord with the beliefs
or understandings of an artist in a particular time and place.
How to Write about Buildings:
Buildings, like people, have stories to tell about their community’s and the nation’s past. Embedded in historic
structures and landscapes are traces of past lives that are clues to how our ancestors lived, and how life today
evolved. To write about them is to bring these traces to life.
There are different approaches to writing about historic (or current day) structures.
Describe in detail a general overall view of the structure.
Write a factual piece on the history of the structure. Support this with information on the structure itself and/or
its contents, in part or in whole. Include the date the structure was built, its architectural style, how the structure
changed through the years
Explore the people connected with the structure: the builder, the owners through the years, who worked in the
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structure, who visited the structure and why.
What was the structure’s original use? How did it reflect its certain historical era. How did it change through the
years (additions, renovations, etc.)? What is its current use? Why were these changes made? What construction,
special to its purpose, was used? What is the relationship between its construction and its purpose?
What does the building mean to the community?
Culled from: http://beanerywriters.wordpress.com/2011/01/14/how-to-write-about-historic-buildings/
See also these sources:
http://www.uwgb.edu/malloyk/art_criticism_and_formal_analysi.htm
http://www.ubc.ca/okanagan/creative/links/arthistory/The_Elements_of_Art.html
http://twp.duke.edu/uploads/assets/painting.pdf
http://twp.duke.edu/uploads/assets/photography.pdf
http://twp.duke.edu/uploads/assets/painting.pdf
http://twp.duke.edu/uploads/assets/maps.pdf
http://twp.duke.edu/uploads/assets/comics.pdf
Assignment 3: major research paper or creative research equivalent: 40%
Week of October 13: Student meetings with Loren Lerner to discuss major assignment.
November 24: Major assignment due before the lecture begins, paper and email attachment to
loren.lerner@sympatico.ca.
Research Paper or Research Creation
You have two choices:
Choice One
-write an eight-page essay on one to three works of art, architecture, archaeological sites, or urban spaces.
You are welcome to write a longer paper. Give a ten-minute informal oral presentation about your paper using a
PowerPoint presentation, meeting with Loren and fellow students in EV 3.760 (individual time slots to be
scheduled) Wednesday November 26, 9:00-11:30, 2:00-9:00, Friday November 28, 9:00-5:00. Students are
expected to stay for one hour to respond to the presentations of fellow students.
OR
Choice Two
-create your own image/s; write a three page paper about your rationale and process, comparing your work to
one to three works of art, architecture, archaeological sites, or urban spaces. You are welcome to write a longer
paper. Give a ten-minute informal oral presentation about your work, meeting with Loren and fellow students in
EV 3.760 (individual time slots to be scheduled) Wednesday November 26, 9:00-11:30, 2:00 -9:00 or Friday
November 28, 9:00-5:00. Students are expected to stay for one hour to respond to the presentations of fellow
students.
Assignment Specifications (for Choice One or Two):
This paper will require you to demonstrate basic research skills, such as identifying an engaging topic, building
a solid bibliography of four to six book and journal articles. The paper needs to draw on information found
through your independent research that demonstrably goes beyond using the Internet. It needs to engage with
theoretical problems that are pertinent to the topic. In your assignment you will characterize a particular era in
Jerusalem’s history. You will also consider how the history of Jerusalem shapes the current moment.
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For this major assignment you cannot select works you already considered for your minor writing assignment;
and you cannot use Internet sources except for basic information (as in assignment 1) and journal articles and
books posted-on line .
Step One:
Browse and select some images from the class lectures of interest to you. Search FADIS in Google and log in
with the username "Jerusalem” and the password “student.” Search for the course. Click on “Course
Materials.”
Read some of the articles from the Jerusalem Art History Journal listed as required readings (>) and the
suggested readings listed at the end of this syllabus. The journal articles are available electronically via
Concordia University Library. The books are in the Webster Library; a good many are on RESERVE.
Use the Internet for basic information to begin your research.
Here are suggestions of topics and works of art and architecture:
Topics: personal versus national perspectives: changes in iconography, theme, and style in the portrayal of
Jerusalem as an imagined (signifying) site; peace and war; religion and spirituality; home and exile; belonging
and alienation. See Remembering Jerusalem "call for papers" (for a conference) for suggested topics:
http://jerusalems.wordpress.com/2014/05/13/call-for-papers-remembering-jerusalem-conference-londonnovember/
Israeli-Jewish artists: Larry Abramson; Yaakov Agam; Mordecai Ardon; Maurice Ascalon; Naftali Bezem;
Yitzhak Danziger; Bracha Ettinger; Yigal Feliks; Dor Guez; Nachum Gutman; Marcel Janco; Sigalit Landau;
Dani Karavan; Shmuel Katz; Micha Kirshner; Jeremy Langford; Helmar Lerski; Avraham Melnikov; Erich
Mendelsohn; Motti Mizrachi; Adi Nes; Joshua Neustein; Avraham Ofek; Nira Pereg; Ze’ev Raban; Michal
Rovner; Reuven Rubin; David Rubinger; Moshe Safdie; Boris Schatz; Zahara Schatz; Shaul Shats; Efrat
Shvily; Ruth Schloss; Anna Ticho; Yigal Tumarkin; Yoav Weiss; Yosef Zaritsky; public art in Jerusalem
(http://en.wikipedia.org/wiki/List_of_public_art_in_Israel#Jerusalem_District__.D7.90.D7.96.D7.95.D7.A8_.D7.99.D7.A8.D7.95.D7.A9.D7.9C.D7.99.D7.9D; Jerusalem street art)
(http://travelsofadam.com/2013/04/jerusalem-street-art/)
Palestinian and Israeli-Arab artists: Abed Abedi; Asim Abu-Shakra; Naji al-Ali; Jumana Al Husseini; Nabil
Anani; Asad Azi; Tayseer Barakat; Kamal Boullata; Rima Farah; Ibrahim Ghannam; Paul Guiragossian;
Mustafa al-Hallaj; Mona Hatoum; Jumana al-Husseini; Ghassan Kanafani; Suleiman Mansour; Rosalind
Nashashibi; Rehab Nazzal; Abdel Rahmen Al Muzayen; Raeda Saadeh; Steve Sabella; Walid-Abu-Shakra;
Juliana Seraphim; Ismail Shammout; Vladimir Tamari; Jerusalem street art
(http://travelsofadam.com/2013/04/jerusalem-street-art/)
non-Israeli artists: Pawel Althamer & Artur Zmijewski; Francis Alÿs; Alexander Calder; Mohamad-Said
Baalbaki Sophie Calle; Nathan Coley; Dave Chihuly; Cornford & Cross; Christo; Zeyad Dajani; Guy Delisle;
Caroline Dukes; Marlene Dumas; Helen Escobedo; Scarlett Hooft Graafalnd; Arni Haraldsson; Jackson
Hlungwane; Robert Indiana; Emily Jacir; Jerusalem in My Heart (Radwan Ghazi Moumneh); Valérie Jouve;
Anish Kapoor; Anselm Kiefer; David Lieske; Gustav Metzger; Isamu Noguchi; Cornelia Parker; Bruce Parsons;
Desiree Palmen; Paul Pfeiffer; Gerhard Richter; Brady Robinson: Niki de Saint Phalle; Wael Shawky; Robert
Smithson; Julian Schnabel; Oraib Toukan; Larry Towell; For artists who lived in Jerusalem for an artist's
residence see:
see http://institutfrancais-jerusalem.org/en/category/visual-arts/
http://www.almamalfoundation.org/index.php?action=events&type=3
http://www.jcva.org/about.asp
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Buildings and Spaces in Jerusalem: cemeteries: Mount of Olives; Mount Herzl; Templer Cemetery; tombs:
Tomb of Zechariah; David's Tomb; Tomb of Zechariah; Tombs of the Kings; Yad Avshalom; Jason's Tomb;
Tombs of the Sanhedrin; Tomb of Simeon; Herod Family Tomb; Holy Sepulchre; Mary's Tomb; Cave of the
Ramban; museums: Rockefeller Museum; Israel Museum; Shrine of the Book; Rockefeller Museum of
Archeology; Bible Lands Museum Jerusalem; Yad Vashem Holocaust Museum; L.A. Mayer Institute for
Islamic Art; Coexistence Museum: Museum on the Seam; Museum of Italian Jewish Art; Ticho House; Tower
of David; Herzl Museum; Old Yishuv Court Museum; Italian Synagogue; landmarks and public buildings:
American Colony; Chords Bridge; David's Citadel; Jerusalem YMCA; Jerusalem War Memorial; Knesset;
Montefiore Windmill; Mormon University, Mt. Scopus; Russian Compound; Supreme Court of Israel;
Tolerance Monument; hospitals: Augusta Victoria Hospital; Hadassah hospital (Mount Scopus); Al-Quds
University Hospital (Al-Maqasid); French Hospice; hotels: King David Hotel; American Colony Hotel;
Scottish Guesthouse; universities and colleges: Al-Quds University; Bezalel Academy of Art and Design;
Hebrew University of Jerusalem; L'Ecole Biblique et Archeologique Francaise; Hebrew Union College;
religious sites and buildings: Mount Zion; Temple Mount; Hurva Synagogue, Karaite Synagogue; Belz
Synagogue; Ramban Synagogue; Church of All Nations; Dominus Flevit Church; Church of Maria Magdalene;
Church of the Holy Sepulchre; Lutheran Church of the Redeemer; Hagia Maria Sion Abbey; Monastery of the
Cross; Church of St. Peter in Gallicantu; Ethiopian Church; St. George's Cathedral; Scottish Church; Church
of John the Baptist; Garden of Gethsemane; Via Dolorosa; Dormition Abbey; Mary's Tomb; Islamic: Dome of
the Rock; Al-Aqsa Mosque; Mosque of Omar; parks: Liberty Bell Park; Independence Park; Valley of the
Cross; Peace Forest; Bet Guvrin-Maresha National Park; caves, tunnels and quarries: Hezekiah's Tunnel;
Warren's Shaft; Zedekiah's Cave; Old City: Armenian Quarter; Christian Quarter; The Muristan; Jewish
Quarter; The Cardo; Moroccan Quarter; Muslim Quarter; other urban spaces: Russian Compound; Talbiya;
Yemin Moshe; American Colony; Ein Kerem; Silwan; Mamilla; ancient sites from before Alexander the
Great's conquest: Ancient city walls around the City of David; Antonia Fortress; Broad Wall (Jerusalem);
Ecce Homo (church); Gihon Spring; Helena of Adiabene; Herod's Palace (Jerusalem); Hezekiah's Tunnel;
Jerusalem pilgrim road; Jerusalem Water Channel; Ketef Hinnom; Pool of Bethesda; Pool of Siloam; Quarries
(biblical); Ramat Rachel; Siloam; Siloam inscription; Convent of the Sisters of Zion; Southern Wall; Warren's
Shaft; Well of Souls; Zedekiah's Cave; classical sites: Birket Israel; Cardo; Finger of Og; Fountain of the
Virgin; Hezekiah's Pool; Jerusalem pilgrim road; Jerusalem Water Channel; Ketef Hinnom; Mamilla Pool;
Phasael tower; Pool of Bethesda; Pool of Siloam; Convent of the Sisters of Zion; Solomon's Stables; Southern
Wall; Struthion Pool; Sultan's Pool; Tower of David; Tower of Siloam; Western Wall Tunnel; medieval sites:
Phasael tower; Solomon's Stables; Tower of David; Western Wall Tunnel; Ein Hemed, Aqua Bella (crusader
castle); archaeological excavations in Jerusalem: Cave of Nicanor; Cave of the Ramban; Church of Zion,
Jerusalem; City of David; Excavations at the Temple Mount; Garden Tomb; Givati Parking Lot dig; Israelite
Tower; Jason's Tomb; Monastery of the Virgins; Monolith of Silwan; Shuafat; Silwan; Southern Wall; Talpiot
Tomb; Temple Mount Sifting Project; Tomb of Absalom; Tomb of Benei Hezir; Tomb of the Prophets Haggai,
Zechariah and Malachi; Tomb of Zechariah; Tombs of the Kings (Jerusalem); Tombs of the Sanhedrin; gates:
Jaffa Gate (Bab al-Khalil); Damascus (Shechem) Gate; Zion Gate; Golden Gate (Bab el Rahmeh, Sha'ar
Harahamim); Dung Gate
Buildings and Spaces with Jerusalem associations in Montreal: Chapel of St. John of Jerusalem in Christ
Church Cathedral; Fraternités Monastiques de Jérusalem à Montréal; Masonic Memorial Temple
Step Three:
Find scholarly sources on your topic. See Suggested Readings below. MetaFind available via Concordia
University Library is an excellent way to find on-line scholarly publications. Art Full Text and JSTOR are
two of the best databases searched by MetaFind.
10
Step Four:
Write your paper following the guidelines on How to Analyse a Work of Art (above), How to Write about
Buildings (above), and How to Write an Art History Paper (below).
How to Write an Art History Paper
The information below is culled from these Internet sources that you should consult in detail:
http://art.colostate.edu/docs/art-history-writing.pdf
http://arthistory.about.com/od/arthistory101/a/how_to_write_a_paper.htm
Paper Structure:
1) The Introduction: Compose a thesis statement. This explains your main idea and outlines your methodology.
The paragraph guides your reader into the body of the paper. Use the thesis statement as a kind of “roadmap” to
tell the reader what’s coming and how it will be organized. Subsequent points should tie back to this thesis
statement Declare that you have noticed something about the art, building, artist, architect, or whatever your
focus is for your analysis. Then, "frame" your thesis. Tell your reader about discovering information that can
help us understand a work of art/building better. If you are focusing on artworks, remember to put the artist's
name/artists' names, the title(s) of the work(s) and the date (s) in the first paragraph. You can refer to the title(s)
alone thereafter.
2) Body: Describe and point out what you want the reader to notice. If you are going to include the
artist's/architect's biography, begin with a short summary. Most of your paper should be about the art, not the
life of the artist or architect. If you are having trouble with organizing your paragraphs: Try summarizing (in
notes to yourself or in an outline) the topic of each paragraph in a single sentence. This will allow you to see
whether you’re dealing with more than one topic in a given paragraph, and whether you’re dealing with the
same topic in multiple places. It can also help you see your structure and improve the overall organization and
flow.
Make sure your arguments are constructed in a parallel fashion: Establish a sequence of information. Consider
the paragraph a unit of information. Each paragraph should discuss one topic within the quantity of information
you plan to cover. Write about the connections between what you described in these analyses and what you
declared in the thesis statement. When you have analyzed all the examples, synthesize: compare and contrast.
3) Conclusion: Reiterate the thesis. Remind your reader about your findings in a summary sentence or two.
Persuade the reader that you have demonstrated that your thesis is sound based on your findings.
Basic Format Requirements:
Papers are typed, printed on white paper, and double-spaced with one-inch margins on one side of 8-1/2 x 11
inch paper in 12-point type, Times Roman, WORD document. Do not justify the right-hand margin.
Papers start with a separate, unnumbered title page. The title page includes your name, date, and the title of the
paper. The title page does not count in the overall page count.
Pages must be numbered consecutively. Page one begins on the page following the title page.
Place the images at the end of the paper, one per page after the endnotes and bibliography. Copy and paste the
images into your WORD document. Place full citation below the image.
Do not indent paragraphs. Drop a line between paragraphs.
Papers are stapled or secured. No plastic binders or covers should be used.
Documentation: Notes and Bibliographies: Chicago Style Manual
See citation examples in Jerusalem Art History Journal.
http://www.chicagomanualofstyle.org/tools_citationguide.html
http://library.concordia.ca/help/howto/citations.html
11
Any arguments, ideas, and insights of others, as well as direct quotations and paraphrases of another scholar’s
words or ideas from articles, books, or any other source require a citation in an endnote. In other words, if you
take wording, phrases, whole passages, ideas, or the logic of an argument from someone else you must
acknowledge your source. To not do so is to plagiarize, a serious academic offense.
Endnotes: These are listed on a separate page that follows the last text line of your paper, and precede the
bibliography. Endnotes are double-spaced between entries, flush left. Format: Endnote numbers in your text
must be consecutive and indicated in superscript (a raised number: 5 ) in your text. The note number usually
comes after the final punctuation of the sentence.
Bibliography: All sources cited in notes must also be listed in a separate bibliography attached to the end of the
paper. The bibliography is after the endnotes.
Format: The bibliography is single-spaced with one blank line between entries. The first line of each entry is
flush left, and any run-over lines are indented five spaces. The bibliography is alphabetized by author’s last
name.
quotations: Do not rely excessively on direct quotes (quoting someone word for word). Keep quotes to no more
than two sentences. Try to interpret and analyze the issues in your own words whenever possible. Use direct
quotes when they add color, state a point eloquently or emphatically, or when what someone says is the direct
focus of your discussion. Quotes should support your own statements, not replace your own thoughts or
observations. There should be a good reason for using a quote; don’t use one just because it sounds better than
what you can write. Try not to end a paragraph with a block quotation.
Other Issues:
-Give full names of artists the first time they are mentioned; thereafter, last name only.
-Titles of artworks should be capitalized and italicized.
-Exhibition titles and titles of exhibition catalogues should be italicized.
-Give the full name and place for museums or collections, i.e., National Gallery of Art, Washington, D.C.
-Whole numbers from one through ninety-nine are spelled out. Numerals are used for larger numbers.
-Centuries and decades can either be spelled out or denoted through numerals. Twentieth century and 20th
century are both correct. Do not use apostrophes when noting a decade or century. “The 1950’s were marked by
consensus.” is incorrect. “The 1950s were marked by consensus.” is correct.
-“e.g.,” means “for example,” while “i.e.,” means “in other words.”
-Place the illustrations at the back, at the end of the paper. The citation is placed under the image and includes
the following: figure #, artist’s name or culture, title or description of work, date, medium, dimensions if
known, and location.
-You do not need to cite a source (i.e., a web address or a book) for your illustrations. It is enough to provide
complete label information as above.
- References to illustrations should be made in the text of your paper in the following form:
(Fig. 1), (Fig. 2), etc.
-Sample illustration reference: Michelangelo’s David exhibits an excellent understanding of human anatomy
(Fig. 9).
Suggested Readings
Note: All the journal articles listed here are available electronically through Concordia Libraries via Metafind
or as e-journals. Search e-journals by journal title, click on the title, then search by author and the title of the
article. Dissertations are also available on-line via Concordia Libraries in Proquest (check off Theses and
Dissertations). Some books listed below are on 3-day RESERVE, Webster Library.
Jewish Yerushalayim
Asali, K.J., ed. Jerusalem in History. Buckhurst Hill : Scorpion, 1989. DS 109.9 J459 1989b.
12
Berlin, Andrea. "Jewish Life before the Revolt: The Archaeological Evidence." Journal for the Study of
Judaism 36, no. 4 (November 2005): 417-470.
Cline, Eric H. Jerusalem Besieged : from Ancient Canaan to Modern Israel. Ann Arbor: University of
Michigan Press, 2005. DS 109.9 C63 2005
Eliav, Yaron Z. God's Mountain: The Temple Mount in Time, Place, and Memory (Baltimore: Johns Hopkins
University Press, 2008). DS 109.28 E45 2008 Reserve, Webster Library
Eliav, Yaron. "The Temple Mount in Jewish and Early Christian Traditions: A New Look," in Tamar Mayer
and Suleiman Mourad, eds., Jerusalem: Idea and Reality [electronic resource] (London and New York:
Routledge, 2008), 47-66.
Ezrahi, Sidra Dekoven. "'To What Shall I Compare You?': Jerusalem as Ground Zero of the Hebrew
Imagination." PMLA 122, no. 1, Special Topic: Cities (January 2007): 220-234.
Hachlili, Rachel. Jewish Funerary Customs, Practices, and Rites in the Second Temple Period. Leiden : Brill,
2005. DS 111.9 H33 2005. Also available via Internet.
Horovitz, Ahron. City of David : The Story of Ancient Jerusalem. Jerusalem: Megalim, 2009. DS 109.8
C54H6713 2009.
Howell Chapman, Honora. "What Josephus Sees: The Temple of Peace and the Jerusalem Temple as Spectacle
in Text and Art." Phoenix 63, no. 1/2 (Spring-Summer 2009): 107-130.
Josephus, Flavius. The Wars of the Jews or the History of the Destruction of Jerusalem, Book VI
http://www.ccel.org/j/josephus/works/war-6.htm
Inbari, Motti. Jewish Fundamentalism and the Temple Mount: Who will build the Third Temple? Albany:
SUNY Press, 2009. DS 109.28 I5313 2009
Mazar, Eilat. Preliminary Report on the City of David Excavations 2005: At the Visitors Center Area.
Jerusalem; New York: Shalem Press, 2007. DS 109.8 C54M3913 2007
Pioske, Daniel D. "David's Jerusalem: A Sense of Place." Near Eastern Archaeology 76, no. 1 (March 2013): 415.
Regev, Eyal, "Herod's Jewish Ideology Facing Romanization: On Intermarriage, Ritual Baths, and Speeches."
Jewish Quarterly Review 100, no. 2 (Spring 2010): 197-222.
Ricca, Simone, "Heritage, Nationalism and the Shifting Symbolism of the Wailing Wall." Jerusalem Quarterly
24 (Summer 2005): 39-56.
Ritmeyer, Leen and Kathleen. Jerusalem in the Year 30 A.D. Jerusalem : Carta, 2004. DS 109.912 R57 2004
Ritmeyer, Leen and Kathleen Ritmeyer. Secrets of Jerusalem's Temple Mount (Washington: Biblical
Archaeological Society, 2006). DS 109.3 R57 2006 Reserve, Webster Library
Russell, Alden. “Art and Archaeology. A Modern Allegory.” Archaeological Dialogues 18 no. 2 (2011): 172–
176.
http://ianaldenrussell.com/wp-content/uploads/2011/07/Russell_from_Harrison_AD_Comment.pdf (on Anselm
Kiefer and archaeology)
Schwarzer, Mitchell. "The Architecture of Talmud." Journal of the Society of Architectural Historians, 60, no.
4 (December 2001): 474-487.
Vaughn, Andrew G. and Ann E. Killebrew, eds. Jerusalem in Bible and Archaeology: The First Temple Period
(Atlanta: Society of Biblical Literature, 2003). BS 1199 J38J38 2003 Reserve, Webster Library
Christian Hagiapolis Ierousalem/Hierosolyma
Barker, M. "Jerusalem the Golden: Vision and Memory of the Church." International Journal for the Study of
the Christian Church 5, no. 1 (March 2005):1-10.
Griffiths, Alison. "The Revered Gaze: The Medieval Imaginary of Mel Gibson's "The Passion of the Christ."
Cinema Journal 46, no. 2 (Winter 2007): 3-39.
13
Jacobs, Andrew S. "The Remains of the Jew: Imperial Christian Identity in the Late Ancient Holy Land."
Journal of Medieval and Early Modern Studies 33, no. 1 (Winter 2003): 23-45.
Morris, Colin. The Sepulchre of Christ and the Medieval West: From the Beginning to 1600. Oxford : Oxford
University Press, 2005. BV 196 H7M67 2005 Reserve, Webster Library
Maginnis, Hayden. "Places Beyond the Seas: Trecento Images of Jerusalem." Source: Notes in the History of
Art, 13, no. 2 (Winter 1994): 1-8.
Murphy-O'Connor, J. Keys to Jerusalem [electronic resource] : Collected Essays. Oxford: Oxford University
Press, 2012.
Saar, Jacob. Jesus Trail and Jerusalem. Israel: Eshkol, 2011. GV 199.44 I75S23 2011
Thorpe, Tracy. "The Power of Silence: The Empty Temple Mount in Late Antique Jerusalem." Harvard
University, 2009. Ann Arbor: ProQuest.
Wharton, Annabel. “The Baptistery of the Holy Sepulcher in Jerusalem and the Politics of Sacred Landscape.”
Dumbarton Oaks Papers, 46 (1992): 313-325
Muslim Al Quds
Avner, Rina. "The Dome of the Rock in Light of the Development of Concentric Martyria in Jerusalem:
Architecture and Architectural Iconography." Muqarnas 27 (2010): 31-49.
http://archnet.org/system/publications/contents/9484/original/DTP101967.pdf?1396907242
Avni, Gideon, and Jon Seligman. "Between the Temple Mount/Haram el-Sharif and the Holy Sepulchre:
Archaeological Involvement in Jerusalem's Holy Places." Journal of Mediterranean Archaeology 19, no. 2
(2006): 259-288.
El-Khatib, Abdallah. "Jerusalem in the Qur'ān." British Journal of Middle Eastern Studies 28, no. 1 (May
2001): 25-53.
Grabar, Oleg. The Dome of the Rock. Cambridge: Belknap Press of Harvard University Press, 2006. NA 5978
J5Q334 2006.
Grabar, Oleg. The Shape of the Holy : Early Islamic Jerusalem. With contributions by Mohammad al-Asad,
Abeer Audeh, and Saïd Nuseibeh. Princeton: Princeton University Press, 1996. DS 109.916 G73 1996.
Graves, Margaret S., ed. Islamic Art, Architecture and Material Culture: New Perspectives. Oxford:
Archaeopress, 2012. NK 1270 I85 2012
Gruber, Christine. Between Logos (Kalima) and Light ( Nur): Representations of the Prophet Muhammad in
Islamic Painting.
Muqarnas 26, (2009): 229-262.
http://archnet.org/system/publications/contents/6805/original/DPC3670.pdf?1384803394
Hasson, Ishak. “Art and Architecture in Jerusalem in the Early Islamic Period. In The History of Jerusalem: The
Early Muslim Period, 638-1099, eds. Joshua Prawer and Haggai Ben-Shammai. Jerusalem : Yad Izhak Ben-Zvi
; New York : New York University Press, 1996. DS 109.916 S4413 1996
Kalmar Ivan, "Moorish Style: Orientalism, the Jews, and Synagogue Architecture." Jewish Social Studies 7, no.
3 (Spring 2001): 68-100.
Najm, Ra'ef. "Islamic Architectural Character of Jerusalem: With Special Description of the al Aqsa and the
Dome of the Rock." Islamic Studies 40, no. 3 (2001):721-734.
Prawer, Joshua, and Haggai Ben-Shammai, eds. The History of Jerusalem : The Early Muslim Period, 6381099. Jerusalem: Yad Izhak Ben-Zvi ; New York : New York University Press, 1996. DS 109.916 S4413 1996
Raby, Julian Raby and Jeremy Johns. Bayt al-Maqdis: ʻAbd al-Malik's Jerusalem. Oxford: Published by Oxford
University Press for the Board of Faculty of Oriental Studies, University of Oxford, c1992. NA 5978 J4B39
1992
14
Avner, Riva. The Dome of the Rock in Light of the Development of Concentric Martyria in Jerusalem:
Architecture and Architectural Iconography. Description ... Architecture and Architectural Iconography."
Muqarnas 27 (2010): 31-49.
http://archnet.org/system/publications/contents/9484/original/DTP101967.pdf?1396907242
Jerusalem and the Crusader Period (1095-1291)
Angers, Philippe. "Principles of Religious Imitation in Mediaeval Architecture: An Analysis of the Holy
Sepulchre in Jerusalem and its European Copies from the Carolingian Period to the Late Romanesque." McGill
University (Canada), 2006. Ann Arbor: ProQuest.
Boas, Adrian J. Archaeology of the Military Orders [electronic resource]: A Survey of the Urban Centres,
Rural Settlement and Castles of the Military Orders in the Latin East (c. 1120-1291). New York: Routledge,
2006. CR4701 B63 2006eb
Chavannes-Mazel, Claudine A. "The Jerusalem Miniatures in Maerlant's Rijmbijbel 10 B 21 and in the Hornby
Book of Hours: Questions of Context and Meaning." Quaerendo 41, no. 1/2 (Spring 2011): 139-154.
Folda, Jaroslav. "Images of Queen Melisende in Manuscripts of William of Tyre's History of Outremer: 12501300." Gesta 32, no. 2 (1993): 97-112.
Gaudette, Helen A. "The Spending Power of a Crusader Queen: Melisende of Jerusalem. Women and Wealth in
Late Medieval Europe [electronic source]," Theresa Earenfight, ed. (Basingstoke: Palgrave Macmillan, 2010),
135-148.
Gerber, Haim. Remembering and Imagining Palestine: Identity and Nationalism from the Crusades to the
Present (Basingstoke; New York: Palgrave Macmillan, 2008). DS 125.5 G47 2008 Reserve, Webster Library
Jacoby, Zehava. "The Workshop of the Temple Area in Jerusalem in the Twelfth Century: Its Origin, Evolution
and Impact." Zeitschrift für Kunstgeschichte 45, no. 4 (1982): 325-394.
Kühnel, Bianca. "The Perception of History in Thirteenth‐Century Crusader Art" in France and the Holy Land:
Frankish Culture at the End of the Crusades, eds. D. H. Weiss and L. Mahoney (Baltimore & London: The
Johns Hopkins University Press, 2004), pp. 161-186. D 161.5 F7F73 2004
Whatley, Laura Julinda. "Localizing the Holy Land: The Visual Culture of Crusade in England, Circa 11401307." University of Illinois at Urbana-Champaign, 2010. Ann Arbor: ProQuest.
Islamization of Space and Society in Mamluk Jerusalem (1260-1517)
Assetto, Anthony, et. al. Ottoman Sabils of Jerusalem. Drexel University, March 2010.
http://www.pages.drexel.edu/~cfh27/Jerusalem/Ottoman_Sabils_of_Jerusalem.pdf
Assi, Eman. “Community Involvement in a Housing Renewal Project in the Old City of Jerusalem.” Journal of
Architectural Conservation 8, no. 1 (2002): 74-85.
Bloom, Jonathan, "The Minaret Symbol of Faith & Power." Saudi Aramco World March/April 2002: 26-35.
[Internet]
Emek Shaveh. The Mamilla Cemetery in West Jerusalem: A Heritage Site at the Crossroads of Politics and Real
Estate. http://alt-arch.org/en/wp-content/uploads/2013/07/Mamilla-cemetery.pdf
Grabar, Oleg. "Reflections on Mamluk Art." Muqarnas 2 (1984); 1-12.
Little, Donald P. "Mujīr al-Dīn al-ʿUlaymī's Vision of Jerusalem in the Ninth/Fifteenth Century." Journal of the
American Oriental Society 115, no. 2 (April- June 1995): 237-247.
Rabbat, Nasser. "Perception of Architecture in Mamluk Sources." Mamluk Studies Review 6 (2002): 155-76.
Schaefer, Karl R. Jerusalem in the Ayyubid and Mamluk Eras (Palestine, Cities, Crusades). New York
University, 1985 Ann Arbor, ProQuest.
Smith, Andrew W., Mamluk Jerusalem: A Study of Cultural, Political and Religious Influences on the
Architecture and Buildings of the City, paper for Historical Geography of Jerusalem course, Fall 2008-9
[Internet]
Ottoman Jerusalem and Modernization (1516-1917)
15
Amiri, Avner, and Annabel Wharton. "Home in Jerusalem: the American Colony and Palestinian Suburban
Architecture." Post-Medieval Archaeology 45, no. 2 (November 2011): 237-265.
Bair, Barbara. "The American Colony Photography Department: Western Consumption and 'Insider'
Commercial Photography." Jerusalem Quarterly 44 (Winter 2010): 29-38.
Baram, Uzi. "Images of the Holy Land: The David Roberts Paintings as Artifacts of 1830s Palestine."
Historical Archaeology 41, no. 1, Between Art & Artifact (2007): 106-117.
Boase, T.S.R. "Biblical Illustration in Nineteenth-Century English Art." Journal of the Warburg and Courtauld
Institutes 29 (1966): 349-367.
Cohen, Amnon. The Guilds of Ottoman Jerusalem (Leiden, Boston: Brill, 2001). HD 6473 I754J473 2001
Reserve, Webster Library
El-Hage, Badr. “The Armenian Pioneers of Middle Eastern Photography.” Jerusalem Quarterly 31 (2007): 22–
26.
Fuchs, Ron. "The Palestinian Arab House and the Islamic 'Primitive Hut'." Muqarnas 15 (1998): 157-177.
Hallote, Rachel. "Photography and the American Contribution to Early 'Biblical' Archaeology, 1870-1920."
Near Eastern Archaeology 70, no. 1 (March 2007): 26-41.
Innes, Randy. Jérusalem Revisited: On Auguste Salzmann's Photo-Topography." Religion and the Arts 15, no. 3
(2011): 306-337.
Israel Antiquities Authority. The Conservation of Jerusalem's City Walls [Internet]
Jacobson, Abigail R. From Empire to Empire: Jerusalem between Ottoman and British Rule (Syracuse:
Syracuse University Press, 2011). DS 109.925 J33 2011; Jacobson, Abigail. From Empire to Empire:
Jerusalem between Ottoman and British Rule. [electronic resource] Syracuse: Syracuse University Press, 2011.
DS 109.925 J33 2011eb
Jacobson, David M. "Charles Warren: An Appraisal of his Contribution to the Archaeology of Jerusalem."
STRATA: Bulletin of the Anglo-Israel Archaeological Society 27 (January 2009): 31-61.
Kark, Ruth, and Shimon Landman. "The Establishment of Muslim Neighbourhoods outside the Old City during
the Late Ottoman Period." Palestine Exploration Quarterly 112 (1980): 113–135.
Landow, George P. "William Holman Hunt's 'Oriental Mania' and His Uffizi Self-portrait." Art Bulletin 64, no.
4 (December 1982): 646-655.
Larsen, Timothy. A People of One Book: The Bible and the Victorians [electronic version] (Oxford: Oxford
University Press, 2011).
Moscrop, John James. Measuring Jerusalem : The Palestine Exploration Fund and British Interests in the Holy
Land. London; New York : Leicester University Press, 2000. DS 111 A1M67 2000
Nassar, Issam. "Jerusalem in the Late Ottoman Period: Historical Writing and the Native Voice," in Tamar
Mayer and Suleiman Mourad, eds., Jerusalem: Idea and Reality [electronic resource] (London: Routledge,
2008), 205-222.
Nassar, Issam. European Portrayals of Jerusalem: Religious Fascinations and Colonialist Imaginations
(Lewiston: Edwin Mellen Press, 2006). DS 109.9 N37 2006 Reserve, Webster Library
Nassar, Issam. "Familial Snapshots: Representing Palestine in the Work of the First Local Photographers."
History and Memory 18, no. 2, Special Issue: Home and Beyond: Sites of Palestinian Memory (Fall/Winter
2006): 139-155.
Natsheh, Y. “My Memories of Khassaki Sultan or the 'Flourishing Edifice'.” Jerusalem Quarterly no. 7
(Winter 2000): 29–35.
Nir, Yeshayahu. The Bible and the Image: The History of Photography in the Holy Land, 1839-1899
(Philadelphia: University of Pennsylvania Press, 1985). TR 113 I75N57 1985 Reserve, Webster Library
Shamir, Milette. "Our Jerusalem": Americans in the Holy Land and Protestant Narratives of National
Entitlement." American Quarterly 55, no. 1 (March 2003): 29-60.
16
Silberman, Neil Asher. "Desolation and Restoration: The Impact of a Biblical Concept on Near Eastern
Archaeology." Biblical Archaeologist 54, no. 2 (June 1991): 76-87.
Singer, Amy. Constructing Ottoman Beneficence: An Imperial Soup Kitchen in Jerusalem (Albany: State
University of New York Press, 2002). BP 170.25 S56 2002 Reserve, Webster Library
Wallach, Yair. "Nostalgia and Promise in Jerusalem's Derelict Ottoman Railway Station." Jerusalem Quarterly
38 (Summer 2009): 69-77.
Whiting, Charlotte. "Geographical Imaginations of the 'Holy Land': Biblical Topography and Archaeological
Practice." Nineteenth Century 29 (June 2007):237-250.
Pilgrimages to Jerusalem, the Way of the Souls
Campbell, Mary Baine. "Holy Land USA: Thirteen Photographs, a Poem, and Two Excurses." Religion &
Literature 35, no. 2/3 (Summer-Autumn 2003): 143-171.
Caron, Isabelle. Le Cyclorama De Jerusalem a Sainte-Ann-De-Beaupre Et La Question De Ses Origines.
Universite Laval (Canada), 2000 Ann Arbor, ProQuest.
Connolly, Daniel K. "Imagined Pilgrimage in the Itinerary Maps of Matthew Paris." Art Bulletin 81, no. 4
(1999): 598-622.
Connolly, Daniel Kevin. "Imagined Pilgrimage in Gothic Art: Maps, Manuscripts and Labyrinths." University
of Chicago, 1998. Ann Arbor: ProQuest.
Davis, John. "Frederic Church's 'Sacred Geography'." American Art 1, no. 1 (Spring 1987): 78-96.
Hill-Smith, Connie. "Cyberpilgrimage: The (Virtual) Reality of Online Pilgrimage Experience." Religion
Compass 5, no. 6 (June 2011): 236-246.
Gaposchkin, Cecilia. "The Role of Jerusalem in Western Crusading Rites of Departure (1095-1300)." Catholic
Historical Review 99, no. 1 (2013), 1-28.
Hunmel, Thomas. "Russian Pilgrims: A Peasant Army Invades Jerusalem." Jerusalem Quarterly 44 (Winter
2010): 39-44.
Kirkland-Ives, Mitzi. "Narrative Performance and Devotional Experience in the Art of Hans Memling."
University of California, Santa Barbara, 2005. Ann Arbor: ProQuest
Merback, Mitchell B. "Fount of Mercy, City of Blood: Cultic Anti-Judaism and the Pulkau Passion Altarpiece."
Art Bulletin 87, no. 4 (December 2005): 589-642.
Merback, Mitchell B. Pilgrimage & Pogrom: Violence, Memory, and Visual Culture at the Host-miracle
Shrines of Germany and Austria (Chicago: University of Chicago Press, 2012). BX 2320.5 G3M47 2012
Reserve, Webster Library
Panzanelli, Roberta. "Pilgrimage in Hyperreality: Images and Imagination in the Early Phase of the "New
Jerusalem" at Varallo (1486-1530)." University of California, Los Angeles, 1999. Ann Arbor: ProQuest. Web.
10 July 2014.
Rudy, Kathryn M. "Pilgrim's Memories of Jerusalem: London, Wallace Collection MS M319." Journal of the
Warburg and Courtauld Institutes 70 (2007): 311-325.
van der Haven, Alexander. “The Holy Fool still speaks : the Jerusalem Syndrome as a Religious Subculture,”
in Jerusalem: Idea and Reality [electronic resource], Tamar Mayer and Suleiman Ali Mourad, eds. (London:
Routledge, 2008), 103-122 .
Wharton, Annabel Jane. Selling Jerusalem: Relics, Replicas, Theme Parks (Chicago: University of Chicago
Press, 2006) DS 109.9 W53 2006. Reserve, Webster Library
Woodall, Joanna. "Painted Immortality: Portraits of Jerusalem Pilgrims by Antonis Mor and Jan van Scorel."
Jahrbuch der Berliner Museen 31 (1989): 149-163.
New Jerusalem, Heavenly Jerusalem
Bahat, Dan with Chaim T. Rubinstein. The Illustrated Atlas of Jerusalem. Jerusalem: Carta Jerusalem, 1996. G
2239 J4B2713 1996
17
Bjelajac, David .“Thomas Cole's Oxbow and the American Zion Divided.” American Art, 20, no. 1 2006): 6083.
Davis, John. The Landscape of Belief: Encountering the Holy Land in Nineteenth-century American Art and
Culture (Princeton: Princeton University Press, 1996). N 8214.5 I75D38 1996 Reserve, Webster Library
Graves, C. Pamela. "Building a New Jerusalem: The Meaning of a Group of Merchant Houses in SeventeenthCentury Newcastle upon Tyne, England." International Journal of Historical Archaeology 13, no. 4 (December
2009): 385-408.
Gorenberg, Gershom. The End of Days : Fundamentalism and the Struggle for the Temple Mount. Oxford; New
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20
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Literary sources:
Free, mainly older, on-line books on Palestine and Jerusalem:
http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Palestine/Books
websites: Duke University Libraries, Books, On-line Resources and Exhibits
http://guides.library.duke.edu/content.php?pid=24422&sid=2655900
Jerusalem in Time: http://www.bu.edu/mzank/Jerusalem/index.htm
Jerusalem in Space: http://www.bu.edu/mzank/Michael_Zank/Jerusalem/
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