In recent years, scholars of Judaism have increasingly turned to consider the relationship between Judaism and art. These studies include, but are by no means limited to, Richard Cohen's Jewish Icons: Art and Society in Modern Europe (California, 1998), Elliot Wolfson's Through a Speculum that Shines: Vision and Imagination in Medieval Jewish Mysticism (Princeton, 1994), Vivian Mann's Jewish Texts on the Visual Arts (Cambridge, 2000), Kaiman Bland's The Artless Jew: Medieval and Modern Affirmations of the Jew (Princeton, 2000), and Margaret Olin's, The Nation without Art: Examining Modern Discourses on Jewish Art (Nebraska, 2002). Scholarly interest in the relation between Judaism and art stems not only from a consideration of contemporary Jewish artistic expression, but perhaps even more fundamentally from an explicit or implicit reaction to nineteenth-century European musings on this relation. Particularly in the GermanJewish context, the question of Judaism's relation to art was paramount, not only within internal Jewish debates about the meanings of modern Jewish identity but also in conversations, between Jews and nonJews alike, about Judaism's compatibility with modernity in particular and the history of western civilization more generally. Contemporary scholarly attempts to retrieve strands of pre-modern Jewish theological and philosophical affirmations of vision and visuality, such as Bland's, Mann's and Wolfson's, mentioned above, are themselves predicated on the nineteenth and twentieth-century scholarly denials of visuality in Jewish thought and culture, as is Richard Cohen's attempt to detail Jewish interaction with the visual arts and the role of visual
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