By Steven Fine
Artwork, historical past, and the Historiography of Judaism in Roman Antiquity explores the complicated interaction among visible tradition, texts and their interpretations, arguing for an open-ended and self-aware method of realizing Jewish tradition from the 1st century CE in the course of the upward push of Islam.
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Extra info for Art, History and the Historiography of Judaism in Roman Antiquity
See his “Stepped Pools, Stone Vessels, and Other Identity Markers of ‘Complex Common Judaism,’” Journal for the Study of Judaism in the Persian, Hellenistic, and Roman Period, 41 (2010): 214–243. 39 Brown, Society and the Holy, 173, 179–181, 189–193; Steven Fine, This Holy Place: On the Sanctity of the Synagogue during the Greco-Roman Period (South Bend, IN: Notre Dame University Press, 1997), 9. 40 See Fine, Art and Judaism, 3, and the thoughtful reflections of Michael L. : A Critique of Neusner and Smith on Definition and Mason and Boyarin on Categorization,” Journal of Ancient Judaism 2, no.
52 Mark S.
The association of Hur with Miriam creates both familial symmetry at Exodus 17 and explains the presence of Hur in such a pivotal role. 20 Eliding Hur, Josephus focuses on Miriam, emphasizing Bezalel’s close familial relationship with Moses. The building of the Tabernacle is thus kept in Moses’ family. This focus upon Moses’ family rests on biblical precedent, where Moses, Aaron, and Miriam are the chief actors of the Exodus narrative. This biblical precedent fits well with the general Roman context, where the organs of state—and its major building projects—were commonly entrusted to relatives and friends of the emperor.