In the thirteenth century, sculptures of Synagoga and Ecclesia paired female personifications of the Synagogue defeated and the Church triumphant became a favored motif on cathedral facades in France and Germany. Throughout the centuries leading up to this era, the Jews of northern Europe prospered financially and intellectually, a trend that ran counter to the long-standing Christian conception of Jews as relics of the pre-history of the Church. In The Jew, the Cathedral and the Medieval City, Nina Rowe examines the sculptures as defining elements in the urban Jewish-Christian encounter. She locates the roots of the Synagoga-Ecclesia motif in antiquity and explores the theme s public manifestations at the cathedrals of Reims, Bamberg, and Strasbourg, considering each example in relation to local politics and culture. Ultimately, she demonstrates that royal and ecclesiastical policies to restrain the religious, social, and economic lives of Jews in the early thirteenth century found a material analog in lovely renderings of a downtrodden Synagoga, placed in the public arena of the city square."

A look into an enchanting, underexplored genre of illustrated manuscripts that reveals new insights into urban life in the Middle Ages In this innovative study, Nina Rowe examines a curious genre of illustrated book that gained popularity among the newly emergent middle class of late medieval cities. These illuminated World Chronicles, produced in the Bavarian and Austrian regions from around 1330 to 1430, were the popular histories of their day, telling tales from the Bible, ancient mythology, and the lives of emperors in animated, vernacular verse, enhanced by dynamic images. Rowe's appraisal of these understudied books presents a rich world of storytelling modes, offering unprecedented insight into the non-noble social strata in a transformative epoch. Through a multidisciplinary approach, Rowe also shows how illuminated World Chronicles challenge the commonly held view of the Middle Ages as socially stagnant and homogeneously pious. Beautifully illustrated and backed by abundant and accessible analyses of social, economic, and political conditions, this book highlights the engaging character of secular literature during the late medieval era and the relationship of illustrated books to a socially diverse and vibrant urban sphere.

In the thirteenth century, sculptures of Synagoga and Ecclesia paired female personifications of the Synagogue defeated and the Church triumphant became a favored motif on cathedral facades in France and Germany. Throughout the centuries leading up to this era, the Jews of northern Europe prospered financially and intellectually, a trend that ran counter to the long-standing Christian conception of Jews as relics of the pre-history of the Church. In The Jew, the Cathedral and the Medieval City, Nina Rowe examines the sculptures as defining elements in the urban Jewish-Christian encounter. She locates the roots of the Synagoga-Ecclesia motif in antiquity and explores the theme s public manifestations at the cathedrals of Reims, Bamberg, and Strasbourg, considering each example in relation to local politics and culture. Ultimately, she demonstrates that royal and ecclesiastical policies to restrain the religious, social, and economic lives of Jews in the early thirteenth century found a material analog in lovely renderings of a downtrodden Synagoga, placed in the public arena of the city square."

Whose Middle Ages? is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths. Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms. Each essay uses its author’s academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right’s errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge.

Whose Middle Ages? is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths. Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms. Each essay uses its author's academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right's errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge.