CULTURES OF THE JEWS, VOL 3(ISBN=9780805212020) 英文原版 阿里云 kindle 下载 pdf chm 百度云 azw3 umd

　　Could Moses Mendelssohn (1729–86), the Enlightenment Jewish

philosopher and originator of the Bi’ur (a translation of the Bible

into German in Hebrew characters), have seen what a Galician-born

Jewish artist used for the frontispiece of an illustrated Bible at

the beginning of the twentieth century, he would certainly have

been shocked and uncomfortable. But whether Ephraim Moses Lilien

(1874–1925) was out to stun his audience or was just deeply

engrossed in the art nouveau style is at present of little

significance. However, by placing the renowned thinker alongside

the less-known, erstwhile Zionist artist, we get a fuller view of

the cultural transformation of West and Central European Jewry

during a century and a half. Jewish sensibilities and concerns were

radically transposed as the engagement with a panoply of cultural

orientations superseded earlier pinnacles of Jewish integration,

such as Muslim Spain. Even the Bible, the Old Testament, the

touchstone of Judaism, would be refracted and refashioned in a

multitude of expressions, showing the shifting boundaries of Jewish

life and the Jews’ profound acceptance of the surrounding

environment. The tightrope Mendelssohn walked between traditional

Judaism and European culture was long forgotten or discarded when

Lilien brazenly incorporated into the frontispiece of his Bible

(1908,1 1923) two androgynous figures holding an extended Torah

scroll that covers their genitalia. In Lilien’s day, the tightrope

stretched between European culture and a Jewish nationalist

agenda.

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