Figure Of Christ Research Articles

Alone Together: Poetics of the Passions in Late Medieval Iberia

Alone Together: Poetics of the Passions in Late Medieval Iberia

Yahudiler Siyonizm’i Hıristiyanlardan mı aldılar?

Zionism, the main ideology of the State of Israel, emerged as an intellectual movement and social movement at the end of the 19th century. While this development is subjectively related to the conditions in the Christian world, it is objectively related to the internal dynamics of Judaism. The exclusion of Jews by Catholics and Orthodox has prevented them from integrating into society, nurtured national consciousness and pushed them to seek salvation. On the other hand, Protestants believed that it is necessary to establish a Jewish state in Palestine for the return of Jesus Christ to the earth and endeavored for this sake since the 17th century, These views and efforts, which were fermented among Christians for two centuries, found its expression among the Jews with the concept of Zionism. Considering this fact it can be thought that Zionism passed to the Jews from the Christians. However, although Zionism emerged theoretically and socially in the late date, its intellectual foundations are found in Jewish scriptures as well as its actual examples in Jewish history. The concept of the chosen people, the idea of the promised land and the constant emphasis in liturgy on returning to Jerusalem provide the theological basis for the Zionist goal of establishing a Jewish nation-state in Palestine. It is also undeniable that throughout history Jews made many efforts to establish a Jewish state in Palestine or to create such an opportunity. Experiences such as Jesus is the expected Messiah, the Bar Kokhba revolt, attempts to the Julian The Apostate and Princess Eudoxia, provoking the Persians against Byzantium, and following false Christ figures such as David Alroy and Sabbatai Zevi, the construction of a Jewish homeland in Tiberia at the initiative of Yasef Nasi can be given as examples. The appropriate ground in Europe created by the conditions in 19th century offered the Jews the opportunity to theorize this theoretical and practical legacy in the form of Zionism.

A Frenchman in Tokyo

The article examines Endō Shūsaku’s Wonderful Fool (1959) through the lens of disability studies to argue that the novel’s protagonist Gaston Bonaparte—a Frenchman and failed seminary candidate prone to misadventures in Tokyo—subverts cultural structures of ableism in postwar Japanese society. Described as a horse-faced man with a monstrous physicality, Gaston embodies a disabled Christ figure whose presentation integrates numerous transcultural characteristics. The article situates the novel during postwar Japan, in relation to the beginning of disability movements in 1960s Tokyo, to suggest Endō’s implicit criticism of ableism—a perpetuating, defining cultural feature of postwar Japanese society giving rise to exclusionary treatments of physically and culturally dissimilar bodies. Endō’s novel not only promotes a Christian-oriented inclusivity as a solution to postwar Japan’s social brokenness but also a theology of disability—namely, a recognition that embracing Christ and Christian virtues entails an interdependence with all disabled and foreign bodies. Wonderful Fool uses a disabled folkloric-Christological figure—a paradoxical, transnational union between the East and West—through whom Endō envisions a cultural shift toward disability acceptance and Christian evangelization in Japan.

Is Superman Circumcised? The Complete Jewish History of the World's Greatest Hero by Roy Schwartz

Reviewed by: Is Superman Circumcised? The Complete Jewish History of the World's Greatest Hero by Roy Schwartz Matthew Brake (bio) Roy Schwartz, Is Superman Circumcised? The Complete Jewish History of the World's Greatest Hero. McFarland, 2021. x + 364 pp, $45.00. In Is Superman Circumcised? The Complete Jewish History of the World's Greatest Hero, Roy Schwartz sets out to demonstrate that despite the many Christian allegories portraying Superman as a Christ figure (made popular by the 1978 Superman movie), Superman is actually a Jewish character. Schwartz's work joins a growing body of scholarship dedicated to parsing out the Jewishness of the Man of Steel. Schwartz himself makes note of works like Danny Fingeroth's Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero (2007). While Schwartz does not mention it, one could suggest Martin Lund's 2016 book, Re-Constructing the Man of Steel: Superman 1938–1941, Jewish American History, and the Invention of the Jewish-Comics Connection, another text that examines Superman's supposed Jewishness (with a more critical eye toward the question). Schwartz offers three ways that his book uniquely contributes to this growing body of literature: "it examines the entirety of Superman's career, from 1938 to date, whereas others have limited themselves to his formative 'Golden Age,' ending around 1945, with a few ventures up to 1960. It also explores more deeply the Jewish parallels, including their theological, folkloric, historical and sociological meaning. And it's the first to focus exclusively on Superman" (5). One of the best ways to evaluate this book is to judge it by the criteria Schwartz lays out here. Starting with Schwartz's first point, the book is impressive in its breadth of material. Schwartz guides readers through Superman's origins and the early concepts from Jerry Siegel and Joe Shuster that eventually led to Superman's debut in Action Comics #1. From there, he doesn't stop until events from Brian Michael Bendis's recent run on the character, including when Superman reveals his identity to the world. Schwartz also references the recent CW television show Superman & Lois, which debuted in 2020. In between, he discusses Superman's depiction in various comic book publishing "ages" (i.e., the Golden Age, the Silver Age, etc.) as well as the various serials, television shows, movies, and other transmedia adaptations of the character. While a book like this will end up leaving some things out, Schwartz follows through [End Page 89] on his promise to explore the entirety of Superman's existence, from the early ideas leading to his creation to works that have appeared within the last two years, all the while attempting to highlight the Jewishness of the character. I will address the exploration of Jewish parallels last, but to Schwartz's claim that this book is the first to focus exclusively on Superman, that's not quite accurate. Lund's (previously mentioned) text predates Schwartz's by five years, although Lund's does confine itself to Superman's early years. Also, Schwartz's book does focus on Superman overall, although at times in deviates into a discussion, more broadly, on the history of comics in general and on Jewish contributions to the creation and growth of the industry specifically. This is fine, and is done to provide context for the claim of Superman's Jewishness, but there are places where the text veers off course into one of these other directions so that Schwartz needs to throw in a sentence to remind us that the book is about Superman's Jewishness. I direct a majority of my critiques to Schwartz's claim that the book more deeply explores Superman's Jewish parallels than many other texts. To this point, Schwartz does need to be commended for the breadth of material he has assembled in this text. It is an interesting survey of comics history as well as the Jewish presence in the comic book industry throughout this history. Many scholars studying the history of the Man of Steel may also appreciate this text as a resource to find primary and secondary sources for their own research. There are places where Schwartz makes the...

"А НАДО, ЧТОБЫ ШЕЛ ДРУГОЙ…": БИБЛЕЙСКИЕ ЦИТАТЫ И ИХ ИСТОЧНИКИ В ТВОРЧЕСТВЕ АЛЕКСАНДРА БЛОКА

The article considers and describes the marks on the pages of the Bible, preserved in the home library of A. Blok. The greatest number of marginalia is found in the Pentateuch, Ecclesiastes, the Book of Wisdom of Solomon, the Gospel of John, the 1st Epistle of John, and the Revelation of John the Theologian. A number of quotations are reflected in Blok’s poems, dramas, and articles. The influence of the text of the Apocalypse is particularly evident in the early lyrics of 1901–1904, and then, in the period of “antithesis” (1905–1908), not only in poetry, but also in drama. The analysis of markings in the Gospel makes it clear that the Other, about whom Blok spoke in connection with the figure of Christ in the poem “The Twelve”, is the Holy Spirit, the Comforter. As a source of biblical reminiscences the author considers the text of the “Service of the Church of St. John”, created by D.S. Merezhkovsky and Z.N. Gippius and used by them in home services. Quotations from that source in Blok’s poems allow the author to question the extent of Blok’s knowledge with the practice preached by D.S. Merezhkovsky “The Church of the Third Testament”

ДЕРЕВЯННОЕ «РАСПЯТИЕ» РАБОТЫ ФИЛИППО БРУНЕЛЛЕСКИ И ФРЕСКА МАЗАЧЧО «ТРОИЦА»

The connections of the perspective construction and inter- pretation of architecture in Masaccio’s fresco “Trinity” with the work of Brunelleschi is covered extensively in the literature. At the same time, it is surprising that the striking similarity of the figure of Christ on the cross in this monumental painting panel with a wooden crucifix carved by Filippo Brunelleschi is mentioned only in a few foreign studies in the mode of state- ment. This paper analyzes the reasons for this similarity and traces the role of Brunelleschi’s “Crucifixion” in the development of Italian art of the Quat- trocento era. The hypothesis is put forward that the image of Christ in the Masaccio’s fresco is not just a technical repetition, but a kind of “homage” to an older friend and consultant.

Násilí v husitských Čechách mezi lety 1418-1422

The study dealt with the issue of legitimizing violence in Bohemia in the 15th century. The relationship to violence is based on four reference levels. They differ both in the form of legitimating and in the relation to the reform of the Church. The tradition of setting norms of violence in Bohemia has its roots in the pre-Hussite period. In contrast to the usual form of the tradition, it contains an element of patriotism and the defence of the truth and the Church. There is also an attitude of rejecting violence, connected with the person of Chelčický. The frame of reference is firstly formed by the conviction of the necessity of a total rectification of the Church. In the Hussites' understanding, the reform movement in Bohemia has not only a local impact but is also part of God's wider plan. It understands itself as a universal concept, first realized in the territory of Bohemia. Another reference framework is the reaction to the Crusade against Bohemia. The Crusade, the relationship to the Hussites in the then world, and the feeling of a common enemy evoke the optics of persecution and even paranoid perception of the world. The third frame of reference is chiliastic thinking, later abandoned by the Taborites. The dynamics of eschatological rhetoric and seeing the enemy in diabolical categories as the enemy of the reform effort are intertwined here. Another form of a reference framework of violence relates to biblical figures and categories. There is also a change in the perception of the figure of Christ that becomes the frame of reference for violence. The fourth level of the reference framework of violence in 15th-century Bohemia involves self-understanding in terms of individuals and their motivation for violence.

ПРОГРАМА РЕСТАВРАЦІЇ БІЛОКАМ'ЯНОЇ СКУЛЬПТУРИ ЯНА НЕПОМУЦЬКОГО ПОЧАТКУ ХІХ СТОЛІТТЯ З СЕЛА ВЕЛИКА ВИШЕНЬКА, ЯВОРІВСЬКОГО РАЙОНУ, ЛЬВІВСЬКОЇ ОБЛАСТІ

The following article is the first attempt to analyze and systematize the sculptural images of St. John of Nepomuk in the late XVIII-XIX centuries in Galicia, determine the accurate location to suggest the authorship of the work and develop a restoration program to put into effect work on the monument. Having conducted a stylistic inquiry, we can say that the author was a sculptor Jan Nepomuckski from the village of Velyka Vyshenky. He was under the influence of such Lviv sculptors as Peter and Matthew Poleiowski. Compositional techniques, manner of interpretation of folds, and plasticity testify to close cooperation with these authors. The similarity to the mode of Peter Poleiowski is especially noticeable. Matthew Poleiowski was a talented organizer, had great authority and performed an impressive number of works. He organized other sculptors under his guidance, and there is a suggestion that Ivan Poleiovsky was the leading one. Therefore, probably since Matthew signed contracts for the work, we see the work of the whole shop, and one of these sculptors was the author of sculptures, Jan Nepomuk, from the villages of Velyka Vyshenka and Tovstolug. The sculpture under restoration suffered significant damage and loss. There is no pedestal on which it had initially located. But the round column remained smooth and without decor. From the elbow, along with the hands, both hands are missing. Also, parts of the folds of clothing are missing. There are numerous chips and cracks. The saint's face is barely visible. A traditional attribute of the saint, the metal halo, is also missing. Although, we found traces of them, such as mounting slots on the sculpture. Before restoring the white stone sculpture of Jan Nepomuk from the village of Velyka Vyshenky, we developed the program. It includes the following steps: 1. To execute the photo-fixation of the object, make all necessary measurements and drawings. 2. To carry out a preliminary inspection to assess the damage and condition of the stone. 3. To determine the sequence of works on stone conservation. 4. To perform stone cleaning by dry method with brushes. 5. To clean the stone with a steam generator; 6. To clean the neck and head part from the remnants of cement with the help of metal tools, so-called preliminary restoration and pre-moisten the concrete with water. 7. Take measures to salt the stone with cellulose compresses and distilled water. 8. To perform structural strengthening of the stone with silicon-organic elements. 9. Glue the head and part of Christ with epoxy-based material from TENOX. 10. To supplement the lost items of clothing with mineral restoration solution. 11. To make several elements, such as hands, lost parts of the figure of Christ from plasticine. To make a plaster mould and reconstruct them from artificial stone. 12. To strengthen the structure of the stone with silicon-organic substance. 13. To cover the work with a biocidal solution of long-lasting action. 14. To perform sculpting of wood. 15. To conduct hydrophobization of the work. 16. To develop recommendations to organize the exhibition of works, providing optimal storage conditions. The white stone sculpture of Jan Nepomuk from the village of Velyka Vyshenka is an invaluable example of the late Baroque masters of the Lviv School of Sculpture, created by Ivan Poleiowski. However, today it is impossible to chronicle this. In the process of restoration of the Jan Nepomuk Sculpture, we used established and original restoration technologies and methods. It may allow displaying this sacred work as an object for prayer and worship. We would recommend exhibiting it under the cover to protect from the aggressive impact of precipitation.

Slavery and the Political Touchstones of a Young Republic

Slavery and the Political Touchstones of a Young Republic Tamika Nunley Remaking the Republic: Black Politics and the Creation of American Citizenship. By Christopher James Bonner. America in the Nineteenth Century. Philadelphia: University of Pennsylvania Press, 2020. 254 pages. Cloth, ebook. Not Made by Slaves: Ethical Capitalism in the Age of Abolition. By Bronwen Everill. Cambridge, Mass.: Harvard University Press, 2020. 328 pages. Cloth, ebook. Surviving Southampton: African American Women and Resistance in Nat Turner’s Community. By Vanessa M. Holden. Women, Gender, and Sexuality in American History. Urbana: University of Illinois Press, 2021. 182 pages. Cloth, paper, ebook. The World Colonization Made: The Racial Geography of Early American Empire. By Brandon Mills. Early American Studies. Philadelphia: University of Pennsylvania Press, 2020. 259 pages. Cloth, ebook. The Practice of Citizenship: Black Politics and Print Culture in the Early United States. By Derrick R. Spires. Philadelphia: University of Pennsylvania Press, 2019. 352 pages. Cloth, ebook. In the Matter of Nat Turner: A Speculative History. By Christopher Tomlins. Princeton, N.J.: Princeton University Press, 2020. 372 pages. Cloth, ebook. During the past decade, a resurgence of scholarship examining nineteenth-century politics and abolition has broadened to emphasize the actions of the enslaved and the articulations of Black political strategies. Though this literature lies beyond the conventional chronological boundaries of early American and Atlantic history, its robust ideas concerning political resistance and the afterlives of revolutions, as well as its assessments of commercial and cultural currents crossing the Atlantic, should be of considerable interest to scholars of early American history. In particular, recent work on the early nineteenth century using various modes of analysis—including speculation, literary history, and Black radical intellectual traditions—shows the myriad ways that slavery, resistance, and moral reform [End Page 135] shaped early American politics. Both the methods deployed and the historical trajectories uncovered by these scholars should prove generative for early Americanists and Atlanticists in future framings of their inquiries. Above all, recent scholarship has shown the vitality of Black political engagement. In In the Matter of Nat Turner, Christopher Tomlins uses a “speculative” approach, deploying a skillful reading and imagining of the sources, to offer a compelling retelling of Nat Turner’s life, beliefs, and intellect as well as the political significance of his rebellion. Tomlins begins with a treatment of how Turner appears in public memory, literature, and history. This approach allows the reader to think through the origins of the assumptions that shape how historians interpret Turner and the rebellion. For instance, as Tomlins shows, historians C. Vann Woodward and Eugene D. Genovese were influenced by novelist William Styron’s The Confessions of Nat Turner in that they acknowledged the significance of the rebellion but remained largely dismissive of Turner as a credible historical figure and depicted him as a “hate-driven madman” (22).1 Tomlins reads the mediated testimony of Turner’s court deposition as a window into his biblical hermeneutics. He depicts Turner as not a fanatic but as an evangelical Christian who experienced sanctification and daily edification in preparation for holy war and makes the essential intervention of taking the theological interpretations of the enslaved seriously. More specifically, he shifts the focus from the conventional emphasis on Exodus and the Old Testament to the book of Luke in the New Testament. This move—away from drawing parallels between the enslaved and Old Testament Israelites and toward recognizing the self-image of Nat Turner, enslaved rebel, as sacrificial Christ figure—invites a level of analysis and complexity that the field desperately needs to understand the spiritual dimensions of resistance. According to Tomlins, “Turner is living entirely in sacred space and time, beyond Armageddon, his calling—at last clarified—to fight the final battle against Satan” (61). For Tomlins, the profoundly spiritual dimensions of Turner’s vision expose the problems with how scholars usually conceptualize resistance, which typically refers to the range of responses enacted by the enslaved to challenge enslavers and slavery itself, rather than to the epistemological foundations of resistance and their implications for broader debates. As Tomlins shows, responses to Turner even among white Virginians were far...

Redemption through Martyrdom: Depiction of Christ Hero Archetype in Eliot’s “Murder in the Cathedral”

Mythology began as a way to answer questions about life, explain tradition, build culture and enlighten people. It tries to clarify the role of gods in human life. Mythology has multidisciplinary role as it amuses, connects history and conveys man’s relationship to god and the universe. In literature, heroes are vital and the most convincing characters as they are the icons who leave a valuable lesson to the humanity. It was Homer who first established the hero and journey archetypes approximately 800 B.C. and different authors follow the trend of using them in their work of art. Heroes set an example for entire humanity and teach the readers that there are more important things in life than personal benefits as Northrop Frye mentions in his “Myth and Metaphor”, “hero goes out to accomplish something” (213). Hero simply does not go out for adventurous journey but is on a quest, to explore the meaning of human situation and the universal values of good and evil. The main purpose of hero is to serve humanity putting his own life at risk. Joseph Campbell in his “Power of Myth” states “the ultimate aim of the hero’s quest must be neither release nor ecstasy for oneself, but the wisdom and power to serve others” (XIV). In need Christ hero archetype embraces martyrdom for the enlightenment of entire humanity. The research paper depicts the literary archetype of the Christ hero who undergoes challenges, struggles all the way and sacrifices own life for the salvation of humanity. Thomas Becket’s martyrdom in the play is the landmark for the purification of all sins of the people listing him as the Christ figure.

Sacred Subtexts: Depictions of Girls as Christ Figure and Holy Fool in the FilmsMoanaandWhale Rider

Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my discussion here on the christological symbolism of the two female child figures in these films, while also folding this back to the long-standing religious and literary tradition of the holy fool. The aim of this article is to contribute to the growing body of critical and theoretical work about the representation and reading of women and religion in film.

Religion Subdued: The Political Figure of Christ in the Work of Giovanni Battista Comazzi (1654–1711)

This article focuses on the workPolitica e religione nella persona, parole ed azioni di Giesù Cristo(1706–7) by Giovanni Battista Comazzi, an emissary of the last duke of Mantua at the court of Vienna. Comazzi examined the actions and teachings of Christ described in the Gospel of John as a source for political guidance. The research reveals an attempt to establish an exegetical basis for challenging ecclesiastical interference, asserting the primacy of politics and advocating a poor and exemplary Church. Censored by the Holy Office, the work was ultimately framed within the clash between the papacy and the Empire.

Bakhtin and Trooper Peter Halket of Mashonaland: Beyond Allegory and Realism

Olive Schreiner’s novella Trooper Peter Halket of Mashonaland (1897) has been variously considered to be a political pamphlet, an allegory or at the very least a piece of moralising Victorian realism. Certainly at its centre there is the powerful proclamatory voice of the Christ figure, ventriloquized by both the Cape preacher and later Peter Halket himself. As most critics have acknowledged – from its early reviewer in the New York Tribune in 1897 to most recently Rajendra Chetty and Matthew Curr in 2016 – the figure of Christ expounds an ethic or ideology associated with the author herself. However, these critical approaches tend to ignore the conflicting ideas and ideological outlooks held in some of the other voices in the text. In this article, I consider whether these opposing voices are illustrations of Mikhail Bakhtin’s ontology of the dialogic novel with its centripetal and centrifugal ideological forces. If in fact these voices can be considered to be dialogical, then the sublation of the voice of the author/Christ cannot be complete and the novella’s allegorical nature can at the very least be questioned.

A Igreja como mistério de comunhão. Notas sobre a eclesiologia eucarística de Joseph Ratzinger

The present article aims to reflect on the Church as a mystery of communion, a central and fundamental idea in the documents of the Second Vatican Council. Joseph Ratzinger’s theology seeks to understand and explain the Church as communion more clearly and translated more concretely into life. The Church constitutes a concentric element, around the great nucleus that is Christ. From the centrality of the saving figure of Christ comes the understanding of the sacramentality of the Church. The Eucharistic Liturgy is the fundamental link between Christ and the Church. In this understanding that the Eucharist makes the Church, Ratzinger develops a eucharistic, salvific and communion-based ecclesiology.

Communal Incarnation: The Corporate, Collective Jesus of Paul’s Letters

Abstract In his authentic letters, Paul describes a historical, human Jesus, but is strangely silent about the events of Jesus’ life. At the same time, Paul describes the figure of Christ using participatory language, and provides no reason to think that this collective embodiment of Christ does not also apply to Jesus’ historical body. I propose that Paul’s historical Jesus was therefore a corporate figure, embodied by the Jewish, pre-Christian community to which Jesus the Nazarene belonged. I present the literary background for this proposal, and explain how the evidence in Paul for a historical Jesus should be interpreted in a corporate or collective sense. I also provide a typological derivation of the name ‘Jesus’ in Paul.

The Figure of Christ in the Long Nineteenth Century. Edited by Elizabeth Ludlow

<i>The Figure of Christ in the Long Nineteenth Century.</i> Edited by Elizabeth Ludlow

Judges and Ruth

Judges and Ruth

El abordaje del cuerpo en "Habeas corpus" de Jorge Acha: indeterminación, imagen crística y subversión sexual

El presente artículo analiza la película Habeas Corpus del cineasta argentino Jorge Acha a partir de la figura del cuerpo del detenido-desaparecido en ella retratada y, en paralelo, cómo es contrastada con otras representaciones corporales. De esta forma, intenta desplegar un movimiento argumentativo que contempla el estado de indeterminación que implica esta figura. Para ello, se apela al pensamiento de Hito Steyerl, quien incorpora el experimento mental del “gato de Schrödinger” a la reflexión sobre el estatuto político del desaparecido. También es importante, en un segundo momento, la analogía con la figura de Cristo, la cual dispara una reflexión crítica acerca del rol de la Iglesia Católica en la última dictadura argentina. El detenido-desaparecido es presentado como un doble de Cristo. La paradoja estriba en que la propia Iglesia actúe como verdugo y productora de mártires. La alegoría cristológica es introducida mediante otra figura metonímica, la del pez, de importancia en el cristianismo primitivo y que la película incorpora como motivo central. El último movimiento es el abordaje que el filme hace de la sexualidad con relación a la experiencia de sometimiento. Es de utilidad aquí el pensamiento de Wilhelm Reich respecto de la forma problemática en la que el fascismo se relaciona con la sexualidad y cómo el homoerotismo de Habeas Corpus busca subvertir el carácter reaccionario de la cosmovisión dictatorial. Al mismo tiempo, se produce un contraste entre el modelo de cuerpo del detenido-desaparecido y los cuerpos hipertrofiados y diseñados de los fisicoculturistas admirados por el torturador.

The Nun, the Monk, and the Lay Brother: Emotional Anthropology and Affective Community in the Hagiography of Goswin of Bossut (1230s)

During the Middle Ages the monastery served as a sort of laboratory dedicated to creating the ideal Christian life. It is therefore not surprising that it was at the heart of the “emotional turn” of the eleventh through thirteenth centuries that mediaeval historians have often noted. That turn was marked by a newly emotional way to think of the figure of Christ; his life on earth became a model to imitate and to identify with emotionally. This article measures the ways in which these transformations made their imprint on monastic life by focusing on the hagiographical writings of Goswin of Bossut, a Cistercian monk at Villers-en-Brabant. The three vitae written by Goswin in the 1230s—one of a nun (Ida of Nivelles), another of a lay brother (Arnulf of Villers), and the third of a monk (Abundus of Villers)—allow us to investigate the transformations in the emotional anthropology of the thirteenth century, cross-gender relationships, and the ways in which the monastery was conceived of as an “affective community” within its social context.

„POCHWYCILI JI MIĘDZY SIE, JAKO WILCY OWIECZKĘ”. ŻYDZI W PÓŹNOŚREDNIOWIECZNYCH POLSKICH APOKRYFACH (ROZMYŚLANIA DOMINIKAŃSKIE, ROZMYŚLANIE PRZEMYSKIE, SPRAWA CHĘDOGA O MĘCE PANA CHRYSTUSOWEJ)

The article analyses the construction of Jewish characters in the following late medieval Polish apocrypha: Rozmyślania dominikańskie, Rozmyślanie przemyskie, and Sprawa chędoga o męce Pana Chrystusowej. The characters are built on a contrast between the figure of Christ and his tormentors. The article studies the following aspects of the contrast: hyperbolized aggression, beastial imagery, and the impurity of the perpetrators (which is conspicuous in images originating from the humoral theories). The literary representation of Jews (rather than Roman soldiers) as the ‘physical’ culprits of the Crucifixion of the Saviour also plays an important role in the texts under discussion