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ARTH 369/2A The City of Jerusalem: Ideas and Images (Studies in Near Eastern Art and Architecture) Monday 15:00-17:30 EV-1.615. Instructor: Dr. Loren Lerner email: loren.lerner@sympatico.ca; 514-848-2424 ext. 4698 Office hours: EV 3.768, Tuesday, 13:00-15:00, by appointment. Table of Contents:Basic InformationSchedule of Lectures and Required Readings AssignmentsAssignment 1: minor reading, comment and question assignment: 5% How to Analyse a Scholarly Reading Assignment 2: minor paper assignment 15% SEQ CHAPTER \h \r 1How to Analyze a Work of Art How to Write about Buildings Assignment 3: major research paper or creative research equivalent: 40% Assignment Specifications Israeli-Jewish artists Palestinian and Israeli-Arab artists Non-Israeli artists Buildings and Spaces in Jerusalem Buildings and Spaces with Jerusalem associations in Montreal How to Write an Art History Paper Assignment 4 : final take-home exam 40% Suggested Readings Classroom Behaviour; Language of Instruction, Assignments, and Tests; Academic Integrity Basic InformationImportant Dates:One week: Assignment 1 e-mail attachment to loren.lerner@sympatico.ca due Thursday at 5:00 P.M. of a week to be assigned to students. October 6: Assignment 2 due before the lecture begins; paper and email attachment to: loren.lerner@sympatico.ca Week of October 13: Student meetings with Loren Lerner to discuss major assignment November 24: Assignment 3 due before the lecture begins, paper and email attachment to loren.lerner@sympatico.ca. Meeting with Loren and fellow students in EV 3.760 (individual time slots to be scheduled) November 26, 2:00-9:00, Friday November 28, 9:00-5:00.Tuesday December 2 (make-up class): Exam topics for the take home exam to be distributed and discussed in class.Tuesday December 16: Assignment 4: Take Home Exam due. Send email attachment to loren.lerner@sympatico.ca before 14:00 P.M. and bring exam to Loren Lerner’s office EV 3.768 between 14:00 and 15:00 P.M.Assignments and the exam must be typed, double spaced, 12-point Times Roman type, standard one-inch margins, WORD document. Endnotes and bibliography, Chicago Style citation. Images with full citations must be placed at the end of the paper. Copy and paste the images into the WORD document. See citation examples in Jerusalem Art History Journal.Delivering Assignments: Assignments should be brought to class and emailed to as attachmentsto loren.lerner@sympatico.ca before the lecture begins. Assignments delivered after class begins will be considered late. If you are unable to deliver the paper assignment personally, you should arrange to have a printed version delivered to the department. Place the assignment in the Art History box (3rd floor, just outside the Department door), never on or under the professor’s door. Remember to put the professor’s name and your student number on the assignment. Late assignments will be docked 2 marks each day. The clock starts at 15:00 on the due date. No extension on reading assignment or the final exam. Schedule of Lectures and Required Readings: Each lecture has two types of required readings:*Readings available electronically via Concordia Libraries; for class discussion and take-home exam. >Readings from the Jerusalem Art History Journal: An Undergraduate Journal available via FADIS; readings for take-home home by students in this Jerusalem course from last year.To see the images for each lecture search FADIS in Google and log in with the username "Jerusalem” and the password “student.” Search for the course. Click on “Course Materials.”?September 8: Introduction to the City of Jerusalem: History and ApproachesSeptember 15: Jewish Yerushalayim *Levine, Lee I. "Jerusalem in Jewish History, Tradition, and Memory," in Jerusalem: Idea and Reality [electronic resource], eds. Tamar Mayer and Suleiman Ali Mourad (London: Routledge, 2008), 27-46. >Campbell, Anna. Design for an Ideal Starlight>Morneau-Hébert, Rachel. "Exploration picturale de la superposition des cultures sur le mont du temple.">Martel, Patrick. "Jerusalem Belongs to No One and Everyone." Jerusalem Art History Journal.>Mazzonna, Eduardo. "Three Religions, Three Sacred Sights." Jerusalem Art History Journal>Peters, ?lise. Jérusalem, le coeur du monde, Jerusalem Art History Journal. September 22: Christian Hagiapolis Ierousalem/Hierosolyma*Ousterhout, Robert. "Architecture as Relic and the Construction of Sanctity: The Stones of the Holy Sepulchre." Journal of the Society of Architectural Historians 62, no. 1 (March 2003): 4-23.>Cossar, Elsbeth. "Immaculate Mary: A Reflection on the Assumption of the Blessed Virgin Mary and the Tomb of the Virgin in the Kidron Valley, Jerusalem." Jerusalem Art History Journal>Montpetit, Gabrielle. "Roman Attitudes Towards Jerusalem: Titus and Constantine." Jerusalem Art History Journal>Wexler, Samantha. "Representations of Jesus in Early Christian Art." Jerusalem Art History Journal>Zhang, Xin-yun, "Dominus Flevit: Reconciling Relics, Historical and Biblical Narrative through Christianity." Jerusalem Art History JournalSeptember 29: No class October 6: Muslim Al Quds*Najm, Ra'ef. "Islamic Architectural Character of Jerusalem: With Special Description of the al Aqsa and the Dome of the Rock." Islamic Studies 40, no. 3 (2001):721-734.>Belshaw, Ellen. "Al-Masjid al-Aqsa: The Underappreciated Third Holiest Islamic Site." Jerusalem Art History Journal>Patel, Ketan. "The Dome of the Rock." Jerusalem Art History Journal.>Raudsepp, Stephanie. "A Study of Islamic Geometric Tile Design." Jerusalem Art History Journal.October 13: Thanksgiving, no classOctober 20: Jerusalem and the Crusader Period (1095-1291)*Folda, Jaroslav. "Commemorating the Fall of Jerusalem: Remembering the First Crusade in Text, Liturgy and Image," SEQ CHAPTER \h \r 1Nicholas Paul and Suzanne Yeager, ed. Remembering the Crusades Myth, Image, and Identity [electronic resource] (John Hopkins University Press, 2012), 125-145. >Bergeron, Chloé. "The Illuminated Manuscript: Representation of the Crusades for Jerusalem," Jerusalem Art History Journal>Wiley, Faith. Histoire d’Esme: "An Imagined Story of a Ten-year Old Pilgrim to Jerusalem in the Twelfth Century." Jerusalem Art History JournalOctober 27: Islamization of Space and Society in Mamluk Jerusalem (1260-1517)*Grabar, Oleg. "Space and Holiness in Medieval Jerusalem." Islamic Studies 40, no. 3/4 Special Issue: Jerusalem (Autumn-Winter 2001): 681-692. >Carmichael, Bronwyn. "Lady Tunshuq’s Palace: A Lasting Legacy of Mamluk Modernization." Jerusalem Art History Journal.November 3: Ottoman Jerusalem and Modernization (1516-1917)*Nassar, SEQ CHAPTER \h \r 1Issam. "'Biblification' in the Service of Colonialism: Jerusalem in Nineteenth-century Photography." Third Text 20, no. 3/4 (May-July, 2006): 317–326.>Guerin, Anne-Marie. "Preserving the Zion Gate: The Role of Conservation in the Middle East." Jerusalem Art History Journal.>Herkelian, Herag. "Jerusalem through the Eyes of Armenian Photographers: Garabed Krikorian, Johannes Krikorian, and Elia Kahvedjian." Jerusalem Art History Journal.November 10: Pilgrimages to Jerusalem, the Way of the Souls; New Jerusalem, Heavenly Jerusalem *Ousterhout, Robert. "'Sweetly Refreshed in Imagination': Remembering Jerusalem in Words and Images." Gesta 48, no. 2 (2009): 153-168.>Charlebois, Amanda. "The Artistic Apocalypse: Three Religious Depictions of the End of Days." Jerusalem Art History Journal. >Graorac, Sara. "Jerusalem Syndrome: A Photo Essay." Jerusalem Art History Journal.November 17: Jerusalem under the British Mandate (1916-1948)*Cohen, Nurit Shilo. "The 'Hebrew Style' of Bezalel, 1906-1929." Journal of Decorative and Propaganda Arts 20 (1994): 140-163. November 24: Israeli-Jewish artists and Zion *Gal, SEQ CHAPTER \h \r 1Nissim. "Bare Life: The Refugee in Contemporary Israeli Art and Critical Discourse." Art Journal 68, no. 4 (Winter 2009):24-43. >Beaulieu-Sherping, Alison. "?tude comparative des oeuvres photographiques de David Rubinger à deux moments de sa vie." Jerusalem Art History Journal.>Gauthier, Valerie. "Symbols and Motifs: Depictions of the Heavenly Realm in Mordecai Ardon’s At the Gates of Jerusalem." Jerusalem Art History Journal.>Scott, Braden Scott. "From the Depths of the Matrixial Sea: Reviving Loss and Memory in Contemporary Israeli Art." Jerusalem Art History Journal.December 1: Palestinians Artists, Nationalism and Self-Determination*Ankori, Gannit. "Re‐Visioning Faith." Third Text 20, no. 3/4 (2006): 379-390. *Boullata, Kamal. "Facing the Forest: Israeli and Palestinian Artists." Third Text 3, no.7 (1989): 77-95. >Chaumont, Marie. "Mona Hatoum: Alluringly Near and Devastatingly Far." Jerusalem Art History Journal.>Hornstein, Stéphanie. "Expressing Exile as a Shared Experience: The Work of Steve Sabella." Jerusalem Art History Journal.Tuesday December 2 (Make-Up Class): Jerusalem To-day: Architecture, Urban Space and Contested Identities*Nitzan-Shiftan, SEQ CHAPTER \h \r 1Alona. "On Concrete and Stone: Shifts and Conflicts in Israeli Architecture." Traditional Dwellings and Settlements Review, 21, no. 1 (Fall 2009): 51-65. >Mercier, Vincent. "Yeshiva." Jerusalem Art History Journal.>Parent, Charlotte. "Israeli Archaeology in Jerusalem: National Heritage, Identity, and Partiality." Jerusalem Art History Journal.>Della Foresta, Veronica. "Bridging the Divide: JR and Marco's Face2Face Project and Israel-Palestine Separation Wall." Jerusalem Art History Journal.AssignmentsAssignment 1: one minor reading, comment and question assignment: 5%Minor reading assignment: (5 marks) One week (to be assigned). You will compose in writing two questions about the required reading (*) for classroom discussion. Each question should include a short quotation with the page number from the reading, your comment of one to two sentences, your question in one to two sentences and if possible, the citations of the image(s) on FADIS from the week's lecture pertaining to your question. You email your questions to loren.lerner@sympatico.ca Thursday before 5:00 p.m. Loren will compile these responses for a class discussion of ca.15 -20 minutes. Your contribution will remain anonymous. SEQ CHAPTER \h \r 1How to Analyse a Scholarly Reading: Consider the general subject/problem/research areas, the scope (what the author intends to discuss and why), and the central idea. Analyse the various parts of the article so that you can establish its strengths and weaknesses. Considering both strengths and weaknesses allows you to explore the article more thoroughly.Consider the following questions; however, not all will be appropriate for every article.What is the objective/purpose of the research, study or work discussed in the article? Does the author accomplish this objective?Does the author define any terms? Are the definitions specific, useful?What is the main issue being discussed? What are the major concepts discussed in the article?What are the important facts presented in the article? To quickly establish this, look at the conclusion, as this is where the facts and findings are summarised.Does the author suggest areas for further research or discussion?Were the findings reported in a consistent and clear format? Did the article fail to acknowledge and explain any limitations?Was the logic clear and were claims properly supported with convincing data? Did you spot any fallacies?Did you agree with the thesis or believe the findings? If everything was logical, clear, and well-ordered, yet you remain sceptical, how would you explain that? Perhaps a fundamental difference in values would explain it, or perhaps you know of counter-evidence not considered by the author.See: 2: minor paper assignment 15%October 6: short 2 to 3-page writing assignment (double-spaced, Times New Roman, standard one inch margins, WORD document) due before the lecture begins, paper and email attachment to loren.lerner@sympatico.ca. The essay is 2 pages but you are welcome to write a longer paper. Begin section 1 and 2 on a separate page.Step One:View ONE of these videos on Jerusalem. The History of Jerusalem - Documentary of Jerusalem and the Ark of the Covenant of Jerusalem Documentary : A Cup of Trembling for the Holy Land - Jerusalem vs Satan: The Final Battle [History Channel] Two:Select four to five works of art to replace the images on one segment the video. This can include works of art (paintings, drawings, sculptures, manuscript and book illustrations), buildings, decorative arts (bowls, metalwork), archaeological sites, sculptures, and photographs by professional photographers.Your selection can come from the images for the thirteen lectures of this course. Search FADIS in Google and log in with the username "Jerusalem” and the password “student.” Search for the course. Click on “Course Materials.”?and, or Google "images" with key words such as: Jerusalem in paintings; Jerusalem in photography; Holy Sepulchre in art; Jerusalem 19th century art; Jerusalem Ottoman; Jerusalem ancient; Jerusalem crusades; Christ Mount of Olives painting; Second Temple of Jerusalem destroyed, etc. Consider how there are marked differences between visual and verbal argumentation. Pictures have the power to communicate arguments in ways that may surpass that of words, particularly as people increasingly resort to a variety of texts to make their arguments. Analyse how a segment of the visual representation of Jerusalem in this video are crucial to our understanding of how we, as viewers, are influenced or persuaded. Can works of art effect the narration so as to change our reaction and interpretation of the words of the narrator?Title page: Your name and title of the video and the time - segment you considered.Page one: Explain the reasons you selected the four to five works or art or architecture instead of the images on the video. For each image provide the artist's/architect's names (if you selected a work of art or architecture and the name is known), the title(s) of the work(s) or locations, and the date (s).Page two: Describe and Analyse ONE of the images you selected. -For this analysis you can refer to information from Wikipedia and other Internet sources. No books or articles required for this assignment. Cite these sources at the end of your paper following the Chicago Citation Style. See citation examples in Jerusalem Art History Journal. quotations are permitted for this assignment.-Include pictures of the work you selected for analysis at the end of your paper. Copy and paste these pictures, one picture per page, into your WORD document with the image citation. -Discover how various parts of an image support a larger idea or concept-Demonstrate how explicit parts combine to form implicit wholes-Address specific ideas (how, for example, an idea of the city is supported by elements within an image), or more theoretical positions (how, for example, the parts of an image speak to an understanding of Islam).-Use as worksheets How to Analyze a Work of Art and How to Write about Buildings below:How to Analyse a Work of Art SEQ CHAPTER \h \r 1Analyzing a Work of Art: An analysis is separating into parts to understand the wholeBasic questions: What is my first response to the work? (later you may modify or reject this response)? When and where was the work made? What is the title? Does it help to illuminate the work?subject matter: What is the subject matter? Who or what can be identified in the picture? What if anything is happening? Two pictures of the same subject matter can express different meanings. The subject matter can be transformed by the artist, infused with intellect and feeling, in how the work is related to form. Form includes such things as the size of the work, the kind of brush strokes in a painting, or the surface texture of a sculpture. To get at the meanings of a work we have to interpret the subject matter, the material and the form as well as the socio-historic content and if known the artist's intentions. Gender, age, political convictions and social values will, to some degree, determine the meaning of a work. figure painting: If the picture is a figure painting, what is the relation of the viewer's (and the artist's) gaze to the figure(s)? If there is only one figure, is it related to the viewer by a gaze or a gesture? If the figure seems posed do you agree that the posing is a form of offering the self (perhaps provocatively) to the viewer?portrait: How is the portrait not simply a representation of a face that reveals the inner character but also a presentation or construction created by the artist and the sitter? How much of the figure does the artist show, how much space does the artist cause the figure to occupy and what effects are thus gained? What do the clothing, furnishing, accessories and facial expression contribute to our sense of the figure's personality? What is the setting? Is the sitter portrayed in a studio setting or his, her own surroundings? landscape: What is the relation between human beings and nature? Are the figures at ease in nature, dwarfed by it? What does the landscape say about the society for which it was created? How does the artist present a "social construction" of nature, nature as a hospitable place, or part of an endangered heritage or as a world we have lost or a place where a weary soul can find rest and nourishment?medium: What does the medium contribute? If the work is an oil painting, is the paint put on evenly, or heavily, giving a rich appearance and applied so thickly that it stands out from the surface to catch the light? Or is it applied thinly, layers of translucent coloured oil glazes so that light passes through the layers producing a soft radiant effect?colour: Is the colour imitative of appearances or expressive or both? How are the colours related - bold contrast or gradual transitions? What are the expressive qualities of the colours? light: What is the effect of light in the picture? Does it produce sharp contrast, brightly illuminating some parts and throwing others into darkness or does it by means of gentle gradations unify most or all of the parts? Is the light theatrical or natural, disturbing or comforting? Is light used to create symbolic highlights?space: Do the objects or figures share the space evenly or does one overpower another taking most of the space or light? What is the focus of the composition, i.e. the ordering of the parts into a whole by line, colour, and shape. Is it something grasped at an initial glance or only after close study? Is the composition symmetrical or diagonally recessive? Are the figures harmoniously related by a similar stance or shared action or are they opposed by diagonals thrusting at each other? Diagonals may suggest motion or animation or instability, horizontal lines tranquillity (like reclining figures), vertical lines a more vigorous stability. depth: Does the artist convey depth, that is recession in space? If so, how? If not, why not? How is depth indicated, by overlapping, foreshortening, contour shading, hatching, shading or modelling, cast shadows? Is the perspective linear (parallel lines receding to give illusion of converging and meeting at a single point on the horizon)? Or does the work depend on aerial perspective for its effect, on scaled variations of colour, tone and form as perceived at different distances?shape, size: What is the effect of the shape and size of the work? For example, a larger than life figure or portrait will be different from one 10 inches parison: The most important factor for comparison is time and place because it brings into focus various factors of style and form. Comparisons of artworks that are products of the same place but different times reveal patterns of conventions. When conventions change in some fundamental ways one period has ended and another begun. Comparison across these historical divides helps to highlight the periods giving them an identifiable character. conventions: subject matter: persistent images, actions, and symbols in art works over time; cultural conventions (social influences): persistent ideas, values, beliefs and interests that explain why something produced in a particular environment looks as it does; formal and stylistic conventions: standardized regularized visual devices which persist largely unchanged over a certain time and which accord with the beliefs or understandings of an artist in a particular time and place. SEQ CHAPTER \h \r 1How to Write about Buildings: Buildings, like people, have stories to tell about their community’s and the nation’s past. Embedded in historic structures and landscapes are traces of past lives that are clues to how our ancestors lived, and how life today evolved. To write about them is to bring these traces to life.There are different approaches to writing about historic (or current day) structures. Describe in detail a general overall view of the structure.Write a factual piece on the history of the structure. Support this with information on the structure itself and/or its contents, in part or in whole. Include the date the structure was built, its architectural style, how the structure changed through the years Explore the people connected with the structure: the builder, the owners through the years, who worked in the structure, who visited the structure and why.What was the structure’s original use? How did it reflect its certain historical era. How did it change through the years (additions, renovations, etc.)? What is its current use? Why were these changes made? What construction, special to its purpose, was used? What is the relationship between its construction and its purpose?What does the building mean to the community?Culled from: also these sources: SEQ CHAPTER \h \r 1 3: major research paper or creative research equivalent: 40%Week of October 13: Student meetings with Loren Lerner to discuss major assignment. November 24: Major assignment due before the lecture begins, paper and email attachment to loren.lerner@sympatico.ca. Research Paper or Research CreationYou have two choices: Choice One-write an eight-page essay on one to three works of art, architecture, archaeological sites, or urban spaces. You are welcome to write a longer paper. Give a ten-minute informal oral presentation about your paper using a PowerPoint presentation, meeting with Loren and fellow students in EV 3.760 (individual time slots to be scheduled) Wednesday November 26, 9:00-11:30, 2:00-9:00, Friday November 28, 9:00-5:00. Students are expected to stay for one hour to respond to the presentations of fellow students. OR Choice Two-create your own image/s; write a three page paper about your rationale and process, comparing your work to one to three works of art, architecture, archaeological sites, or urban spaces. You are welcome to write a longer paper. Give a ten-minute informal oral presentation about your work, meeting with Loren and fellow students in EV 3.760 (individual time slots to be scheduled) Wednesday November 26, 9:00-11:30, 2:00 -9:00 or Friday November 28, 9:00-5:00. Students are expected to stay for one hour to respond to the presentations of fellow students. Assignment Specifications (for Choice One or Two):This paper will require you to demonstrate basic research skills, such as identifying an engaging topic, building a solid bibliography of four to six book and journal articles. The paper needs to draw on information found through your independent research that demonstrably goes beyond using the Internet. It needs to engage with theoretical problems that are pertinent to the topic. SEQ CHAPTER \h \r 1In your assignment you will characterize a particular era in Jerusalem’s history. You will also consider how the history of Jerusalem shapes the current moment. For this major assignment you cannot select works you already considered for your minor writing assignment; and you cannot use Internet sources except for basic information (as in assignment 1) and journal articles and books posted-on line .Step One: Browse and select some images from the class lectures of interest to you. Search FADIS in Google and log in with the username "Jerusalem” and the password “student.” Search for the course. Click on “Course Materials.”?Read some of the articles from the Jerusalem Art History Journal listed as required readings (>) and the suggested readings listed at the end of this syllabus. The journal articles are available electronically via Concordia University Library. The books are in the Webster Library; a good many are on RESERVE. Use the Internet for basic information to begin your research. Here are suggestions of topics and works of art and architecture:Topics: personal versus national perspectives: changes in iconography, theme, and style in the portrayal of Jerusalem as an imagined (signifying) site; peace and war; religion and spirituality; home and exile; belonging and alienation. See Remembering Jerusalem "call for papers" (for a conference) for suggested topics: artists: Larry Abramson; Yaakov Agam; Mordecai Ardon; Maurice Ascalon; Naftali Bezem; Yitzhak Danziger; Bracha Ettinger; Yigal Feliks; Dor Guez; Nachum Gutman; Marcel Janco; Sigalit Landau; Dani Karavan; Shmuel Katz; Micha Kirshner; Jeremy Langford; Helmar Lerski; Avraham Melnikov; SEQ CHAPTER \h \r 1Erich Mendelsohn; Motti Mizrachi; Adi Nes; Joshua Neustein; Avraham Ofek; Nira Pereg; Ze’ev Raban; Michal Rovner; Reuven Rubin; David Rubinger; Moshe Safdie; Boris Schatz; Zahara Schatz; Shaul Shats; Efrat Shvily; Ruth Schloss; Anna Ticho; Yigal Tumarkin; Yoav Weiss; Yosef Zaritsky; public art in Jerusalem (; Jerusalem street art) ()Palestinian and Israeli-Arab artists: Abed Abedi; Asim Abu-Shakra; Naji al-Ali; Jumana Al Husseini; Nabil Anani; Asad Azi; Tayseer Barakat; Kamal Boullata; Rima Farah; Ibrahim Ghannam; Paul Guiragossian; Mustafa al-Hallaj; Mona Hatoum; Jumana al-Husseini; Ghassan Kanafani; Suleiman Mansour; Rosalind Nashashibi; Rehab Nazzal; Abdel Rahmen Al Muzayen; Raeda Saadeh; Steve Sabella; Walid-Abu-Shakra; Juliana Seraphim; Ismail Shammout; Vladimir Tamari; Jerusalem street art ()non-Israeli artists: Pawel Althamer & Artur Zmijewski; Francis Al?s; Alexander Calder; Mohamad-Said Baalbaki Sophie Calle; Nathan Coley; Dave Chihuly; Cornford & Cross; Christo; Zeyad Dajani; Guy Delisle; Caroline Dukes; Marlene Dumas; Helen Escobedo; Scarlett Hooft Graafalnd; Arni Haraldsson; Jackson Hlungwane; Robert Indiana; Emily Jacir; Jerusalem in My Heart (Radwan Ghazi Moumneh); Valérie SEQ CHAPTER \h \r 1Jouve; Anish Kapoor; Anselm Kiefer; David Lieske; Gustav Metzger; Isamu Noguchi; Cornelia Parker; Bruce Parsons; Desiree Palmen; Paul Pfeiffer; Gerhard Richter; Brady Robinson: Niki de Saint Phalle; Wael Shawky; Robert Smithson; Julian Schnabel; Oraib Toukan; Larry Towell; For artists who lived in Jerusalem for an artist's residence see: see and Spaces in Jerusalem: cemeteries: Mount of Olives; Mount Herzl; Templer Cemetery; tombs: Tomb of Zechariah; David's Tomb; Tomb of Zechariah; Tombs of the Kings; Yad Avshalom; Jason's Tomb; Tombs of the Sanhedrin; Tomb of Simeon; Herod Family Tomb; Holy Sepulchre; Mary's Tomb; Cave of the Ramban; museums: Rockefeller Museum; Israel Museum; Shrine of the Book; Rockefeller Museum of Archeology; Bible Lands Museum Jerusalem; Yad Vashem Holocaust Museum; L.A. Mayer Institute for Islamic Art; Coexistence Museum: Museum on the Seam; Museum of Italian Jewish Art; Ticho House; Tower of David; Herzl Museum; SEQ CHAPTER \h \r 1Old Yishuv Court Museum; SEQ CHAPTER \h \r 1Italian Synagogue; landmarks and public buildings: American Colony; Chords Bridge; David's Citadel; Jerusalem YMCA; Jerusalem War Memorial; Knesset; Montefiore Windmill; Mormon University, Mt. Scopus; Russian Compound; Supreme Court of Israel; Tolerance Monument; hospitals: Augusta Victoria Hospital; Hadassah hospital (Mount Scopus); Al-Quds University Hospital (Al-Maqasid); French Hospice; hotels: King David Hotel; American Colony Hotel; Scottish Guesthouse; universities and colleges: Al-Quds University; Bezalel Academy of Art and Design; Hebrew University of Jerusalem; L'Ecole Biblique et Archeologique Francaise; Hebrew Union College; religious sites and buildings: Mount Zion; Temple Mount; Hurva Synagogue, SEQ CHAPTER \h \r 1Karaite Synagogue; SEQ CHAPTER \h \r 1Belz Synagogue; SEQ CHAPTER \h \r 1Ramban Synagogue; SEQ CHAPTER \h \r 1Church of All Nations; Dominus Flevit Church; Church of Maria Magdalene; Church of the Holy Sepulchre; Lutheran Church of the Redeemer; Hagia Maria Sion Abbey; Monastery of the Cross; Church of St. Peter in Gallicantu; Ethiopian Church; St. George's Cathedral; Scottish Church; Church of John the Baptist; Garden of Gethsemane; Via Dolorosa; SEQ CHAPTER \h \r 1Dormition Abbey; Mary's Tomb; SEQ CHAPTER \h \r 1Islamic: Dome of the Rock; Al-Aqsa Mosque; Mosque of Omar; p SEQ CHAPTER \h \r 1arks: Liberty Bell Park; Independence Park; Valley of the Cross; Peace Forest; SEQ CHAPTER \h \r 1Bet Guvrin-Maresha National Park; caves, tunnels and quarries: Hezekiah's Tunnel; Warren's Shaft; Zedekiah's Cave; Old City: Armenian Quarter; Christian Quarter; The Muristan; Jewish Quarter; The Cardo; Moroccan Quarter; Muslim Quarter; other urban spaces: Russian Compound; Talbiya; Yemin Moshe; American Colony; SEQ CHAPTER \h \r 1Ein Kerem; Silwan; Mamilla; ancient sites from before Alexander the Great's conquest: Ancient city walls around the City of David; Antonia Fortress; Broad Wall (Jerusalem); Ecce Homo (church); Gihon Spring; Helena of Adiabene; Herod's Palace (Jerusalem); Hezekiah's Tunnel; Jerusalem pilgrim road; Jerusalem Water Channel; Ketef Hinnom; Pool of Bethesda; Pool of Siloam; Quarries (biblical); Ramat Rachel; Siloam; Siloam inscription; Convent of the Sisters of Zion; Southern Wall; Warren's Shaft; Well of Souls; Zedekiah's Cave; classical sites: Birket Israel; Cardo; Finger of Og; Fountain of the Virgin; Hezekiah's Pool; Jerusalem pilgrim road; Jerusalem Water Channel; Ketef Hinnom; Mamilla Pool; Phasael tower; Pool of Bethesda; Pool of Siloam; Convent of the Sisters of Zion; Solomon's Stables; Southern Wall; Struthion Pool; Sultan's Pool; Tower of David; Tower of Siloam; Western Wall Tunnel; medieval sites: Phasael tower; Solomon's Stables; Tower of David; Western Wall Tunnel; SEQ CHAPTER \h \r 1Ein Hemed, Aqua Bella (crusader castle); SEQ CHAPTER \h \r 1archaeological excavations in Jerusalem: Cave of Nicanor; Cave of the Ramban; Church of Zion, Jerusalem; City of David; Excavations at the Temple Mount; Garden Tomb; Givati Parking Lot dig; Israelite Tower; Jason's Tomb; Monastery of the Virgins; Monolith of Silwan; Shuafat; Silwan; Southern Wall; Talpiot Tomb; Temple Mount Sifting Project; Tomb of Absalom; Tomb of Benei Hezir; Tomb of the Prophets Haggai, Zechariah and Malachi; Tomb of Zechariah; Tombs of the Kings (Jerusalem); Tombs of the Sanhedrin; gates: SEQ CHAPTER \h \r 1Jaffa Gate (Bab al-Khalil); Damascus (Shechem) Gate; SEQ CHAPTER \h \r 1Zion Gate; SEQ CHAPTER \h \r 1Golden Gate (Bab el Rahmeh, Sha'ar Harahamim); SEQ CHAPTER \h \r 1Dung GateBuildings and Spaces with Jerusalem associations in Montreal: Chapel of St. John of Jerusalem in Christ Church Cathedral; Fraternités Monastiques de Jérusalem à Montréal; Masonic Memorial TempleStep Three: Find scholarly sources on your topic. See Suggested Readings below. MetaFind available via Concordia University Library is an excellent way to find on-line scholarly publications. Art Full Text and JSTOR are two of the best databases searched by MetaFind. Step Four:Write your paper following the guidelines on How to Analyse a Work of Art (above), How to Write about Buildings (above), and How to Write an Art History Paper (below). How to Write an Art History Paper The information below is culled from these Internet sources that you should consult in detail: Structure:1) The Introduction: Compose a thesis statement. This explains your main idea and outlines your methodology. The paragraph guides your reader into the body of the paper. Use the thesis statement as a kind of “roadmap” to tell the reader what’s coming and how it will be organized. Subsequent points should tie back to this thesis statement Declare that you have noticed something about the art, building, artist, architect, or whatever your focus is for your analysis. Then, "frame" your thesis. Tell your reader about discovering information that can help us understand a work of art/building better. If you are focusing on artworks, remember to put the artist's name/artists' names, the title(s) of the work(s) and the date (s) in the first paragraph. You can refer to the title(s) alone thereafter.2) Body: Describe and point out what you want the reader to notice. If you are going to include the artist's/architect's biography, begin with a short summary. Most of your paper should be about the art, not the life of the artist or architect. If you are having trouble with organizing your paragraphs: Try summarizing (in notes to yourself or in an outline) the topic of each paragraph in a single sentence. This will allow you to see whether you’re dealing with more than one topic in a given paragraph, and whether you’re dealing with the same topic in multiple places. It can also help you see your structure and improve the overall organization and flow.Make sure your arguments are constructed in a parallel fashion: Establish a sequence of information. Consider the paragraph a unit of information. Each paragraph should discuss one topic within the quantity of information you plan to cover. Write about the connections between what you described in these analyses and what you declared in the thesis statement. When you have analyzed all the examples, synthesize: compare and contrast.3) Conclusion: Reiterate the thesis. Remind your reader about your findings in a summary sentence or two. Persuade the reader that you have demonstrated that your thesis is sound based on your findings.Basic Format Requirements:Papers are typed, printed on white paper, and double-spaced with one-inch margins on one side of 8-1/2 x 11 inch paper in 12-point type, Times Roman, WORD document. Do not justify the right-hand margin.Papers start with a separate, unnumbered title page. The title page includes your name, date, and the title of the paper. The title page does not count in the overall page count.Pages must be numbered consecutively. Page one begins on the page following the title page.Place the images at the end of the paper, one per page after the endnotes and bibliography. Copy and paste the images into your WORD document. Place full citation below the image.Do not indent paragraphs. Drop a line between paragraphs.Papers are stapled or secured. No plastic binders or covers should be used.Documentation: Notes and Bibliographies: Chicago Style ManualSee citation examples in Jerusalem Art History Journal. arguments, ideas, and insights of others, as well as direct quotations and paraphrases of another scholar’s words or ideas from articles, books, or any other source require a citation in an endnote. In other words, if you take wording, phrases, whole passages, ideas, or the logic of an argument from someone else you must acknowledge your source. To not do so is to plagiarize, a serious academic offense.Endnotes: These are listed on a separate page that follows the last text line of your paper, and precede the bibliography. Endnotes are double-spaced between entries, flush left. Format: Endnote numbers in your text must be consecutive and indicated in superscript (a raised number: 5 ) in your text. The note number usually comes after the final punctuation of the sentence. Bibliography: All sources cited in notes must also be listed in a separate bibliography attached to the end of the paper. The bibliography is after the endnotes. Format: The bibliography is single-spaced with one blank line between entries. The first line of each entry is flush left, and any run-over lines are indented five spaces. The bibliography is alphabetized by author’s last name.quotations: Do not rely excessively on direct quotes (quoting someone word for word). Keep quotes to no more than two sentences. Try to interpret and analyze the issues in your own words whenever possible. Use direct quotes when they add color, state a point eloquently or emphatically, or when what someone says is the direct focus of your discussion. Quotes should support your own statements, not replace your own thoughts or observations. There should be a good reason for using a quote; don’t use one just because it sounds better than what you can write. Try not to end a paragraph with a block quotation. Other Issues:-Give full names of artists the first time they are mentioned; thereafter, last name only.-Titles of artworks should be capitalized and italicized. -Exhibition titles and titles of exhibition catalogues should be italicized.-Give the full name and place for museums or collections, i.e., National Gallery of Art, Washington, D.C.-Whole numbers from one through ninety-nine are spelled out. Numerals are used for larger numbers. -Centuries and decades can either be spelled out or denoted through numerals. Twentieth century and 20th century are both correct. Do not use apostrophes when noting a decade or century. “The 1950’s were marked by consensus.” is incorrect. “The 1950s were marked by consensus.” is correct.-“e.g.,” means “for example,” while “i.e.,” means “in other words.”-Place the illustrations at the back, at the end of the paper. The citation is placed under the image and includes the following: figure #, artist’s name or culture, title or description of work, date, medium, dimensions if known, and location. -You do not need to cite a source (i.e., a web address or a book) for your illustrations. It is enough to provide complete label information as above.- References to illustrations should be made in the text of your paper in the following form:(Fig. 1), (Fig. 2), etc.-Sample illustration reference: Michelangelo’s David exhibits an excellent understanding of human anatomy (Fig. 9).Suggested ReadingsNote: All the journal articles listed here are available electronically through Concordia Libraries via Metafind or as e-journals. Search e-journals by journal title, click on the title, then search by author and the title of the article. Dissertations are also available on-line via Concordia Libraries in Proquest (check off Theses and Dissertations). Some books listed below are on 3-day RESERVE, Webster Library. ?Jewish YerushalayimAsali, K.J., ed. Jerusalem in History. Buckhurst Hill : Scorpion, 1989. DS 109.9 J459 1989b.Berlin, Andrea. "Jewish Life before the Revolt: The Archaeological Evidence." Journal for the Study of Judaism 36, no. 4 (November 2005): 417-470.Cline, Eric H. Jerusalem Besieged : from Ancient Canaan to Modern Israel. Ann Arbor: University of Michigan Press, 2005. DS 109.9 C63 2005Eliav, Yaron Z. God's Mountain: The Temple Mount in Time, Place, and Memory (Baltimore: Johns Hopkins University Press, 2008). DS 109.28 E45 2008 Reserve, Webster LibraryEliav, Yaron. "The Temple Mount in Jewish and Early Christian Traditions: A New Look," in Tamar Mayer and Suleiman Mourad, eds., Jerusalem: Idea and Reality [electronic resource] (London and New York: Routledge, 2008), 47-66.Ezrahi, Sidra Dekoven. "'To What Shall I Compare You?': Jerusalem as Ground Zero of the Hebrew Imagination." PMLA 122, no. 1, Special Topic: Cities (January 2007): 220-234. SEQ CHAPTER \h \r 1Hachlili, Rachel. Jewish Funerary Customs, Practices, and Rites in the Second Temple Period. Leiden : Brill, 2005. DS 111.9 H33 2005. Also available via Internet.Horovitz, Ahron. City of David : The Story of Ancient Jerusalem. Jerusalem: Megalim, 2009. DS 109.8 C54H6713 2009.Howell Chapman, Honora. "What Josephus Sees: The Temple of Peace and the Jerusalem Temple as Spectacle in Text and Art." Phoenix 63, no. 1/2 (Spring-Summer 2009): 107-130. Josephus, SEQ CHAPTER \h \r 1Flavius. The Wars of the Jews or the History of the Destruction of Jerusalem, Book VI SEQ CHAPTER \h \r 1Inbari, Motti. Jewish Fundamentalism and the Temple Mount: Who will build the Third Temple? Albany: SUNY Press, 2009. DS 109.28 I5313 2009Mazar, Eilat. Preliminary Report on the City of David Excavations 2005: At the Visitors Center Area. Jerusalem; New York: Shalem Press, 2007. DS 109.8 C54M3913 2007Pioske, Daniel D. "David's Jerusalem: A Sense of Place." Near Eastern Archaeology 76, no. 1 (March 2013): 4-15.Regev, Eyal, "Herod's Jewish Ideology Facing Romanization: On Intermarriage, Ritual Baths, and Speeches." Jewish Quarterly Review 100, no. 2 (Spring 2010): 197-222.Ricca, Simone, "Heritage, Nationalism and the Shifting Symbolism of the Wailing Wall." Jerusalem Quarterly 24 (Summer 2005): 39-56. Ritmeyer, Leen and Kathleen. Jerusalem in the Year 30 A.D. Jerusalem : Carta, 2004. DS 109.912 R57 2004 SEQ CHAPTER \h \r 1Ritmeyer, Leen and Kathleen Ritmeyer. Secrets of Jerusalem's Temple Mount (Washington: Biblical Archaeological Society, 2006). DS 109.3 R57 2006 Reserve, Webster LibraryRussell, Alden. “Art and Archaeology. A Modern Allegory.” Archaeological Dialogues 18 no. 2 (2011): 172–176. (on Anselm Kiefer and archaeology)Schwarzer, Mitchell. "The Architecture of Talmud." Journal of the Society of Architectural Historians, 60, no. 4 (December 2001): 474-487. Vaughn, Andrew G. and Ann E. Killebrew, eds. Jerusalem in Bible and Archaeology: The First Temple Period (Atlanta: Society of Biblical Literature, 2003). BS 1199 J38J38 2003 Reserve, Webster LibraryChristian Hagiapolis Ierousalem/HierosolymaBarker, M. "Jerusalem the Golden: Vision and Memory of the Church." International Journal for the Study of the Christian Church 5, no. 1 (March 2005):1-10.Griffiths, Alison. "The Revered Gaze: The Medieval Imaginary of Mel Gibson's "The Passion of the Christ." Cinema Journal 46, no. 2 (Winter 2007): 3-39.Jacobs, SEQ CHAPTER \h \r 1Andrew S. "The Remains of the Jew: Imperial Christian Identity in the Late Ancient Holy Land." Journal of Medieval and Early Modern Studies 33, no. 1 (Winter 2003): 23-45.Morris, Colin. The Sepulchre of Christ and the Medieval West: From the Beginning to 1600. Oxford : Oxford University Press, 2005. BV 196 H7M67 2005 Reserve, Webster LibraryMaginnis, Hayden. "Places Beyond the Seas: Trecento Images of Jerusalem." Source: Notes in the History of Art, 13, no. 2 (Winter 1994): 1-8. SEQ CHAPTER \h \r 1Murphy-O'Connor, J. Keys to Jerusalem [electronic resource] : Collected Essays. Oxford: Oxford University Press, 2012. SEQ CHAPTER \h \r 1Saar, Jacob. Jesus Trail and Jerusalem. Israel: Eshkol, 2011. GV 199.44 I75S23 2011Thorpe, Tracy. "The Power of Silence: The Empty Temple Mount in Late Antique Jerusalem." Harvard University, 2009. Ann Arbor: ProQuest. SEQ CHAPTER \h \r 1Wharton, Annabel. “The Baptistery of the Holy Sepulcher in Jerusalem and the Politics of Sacred Landscape.” Dumbarton Oaks Papers, 46 (1992): 313-325 Muslim Al QudsAvner, Rina. "The Dome of the Rock in Light of the Development of Concentric Martyria in Jerusalem: Architecture and Architectural Iconography." Muqarnas 27 (2010): 31-49., SEQ CHAPTER \h \r 1Gideon, and Jon Seligman. "Between the Temple Mount/Haram el-Sharif and the Holy Sepulchre: Archaeological Involvement in Jerusalem's Holy Places." Journal of Mediterranean Archaeology 19, no. 2 (2006): 259-288.El-Khatib, Abdallah. "Jerusalem in the Qur'ān." British Journal of Middle Eastern Studies 28, no. 1 (May 2001): 25-53. Grabar, Oleg. The Dome of the Rock. Cambridge: Belknap Press of Harvard University Press, 2006. NA 5978 J5Q334 2006.Grabar, Oleg. The Shape of the Holy : Early Islamic Jerusalem. With contributions by Mohammad al-Asad, Abeer Audeh, and Sa?d Nuseibeh. Princeton: Princeton University Press, 1996. DS 109.916 G73 1996. SEQ CHAPTER \h \r 1Graves, Margaret S., ed. Islamic Art, Architecture and Material Culture: New Perspectives. Oxford: Archaeopress, 2012. NK 1270 I85 2012Gruber, Christine. Between Logos (Kalima) and Light ( Nur): Representations of the Prophet Muhammad in Islamic Painting.Muqarnas 26, (2009): 229-262. SEQ CHAPTER \h \r 1Hasson, Ishak. “Art and Architecture in Jerusalem in the Early Islamic Period. In The History of Jerusalem: The Early Muslim Period, 638-1099, eds. Joshua Prawer and Haggai Ben-Shammai. Jerusalem : Yad Izhak Ben-Zvi ; New York : New York University Press, 1996. DS 109.916 S4413 1996Kalmar Ivan, "Moorish Style: Orientalism, the Jews, and Synagogue Architecture." Jewish Social Studies 7, no. 3 (Spring 2001): 68-100.Najm, Ra'ef. "Islamic Architectural Character of Jerusalem: With Special Description of the al Aqsa and the Dome of the Rock." Islamic Studies 40, no. 3 (2001):721-734.Prawer, Joshua, and Haggai Ben-Shammai, eds. The History of Jerusalem : The Early Muslim Period, 638-1099. Jerusalem: Yad Izhak Ben-Zvi ; New York : New York University Press, 1996. DS 109.916 S4413 1996 SEQ CHAPTER \h \r 1Raby, Julian Raby and Jeremy Johns. Bayt al-Maqdis: ?Abd al-Malik's Jerusalem. Oxford: Published by Oxford University Press for the Board of Faculty of Oriental Studies, University of Oxford, c1992. NA 5978 J4B39 1992Avner, Riva. The Dome of the Rock in Light of the Development of Concentric Martyria in Jerusalem: Architecture and Architectural Iconography. Description ... Architecture and Architectural Iconography." Muqarnas 27 (2010): 31-49. and the Crusader Period (1095-1291)Angers, Philippe. "Principles of Religious Imitation in Mediaeval Architecture: An Analysis of the Holy Sepulchre in Jerusalem and its European Copies from the Carolingian Period to the Late Romanesque." McGill University (Canada), 2006. Ann Arbor: ProQuest. SEQ CHAPTER \h \r 1Boas, Adrian J. Archaeology of the Military Orders [electronic resource]: A Survey of the Urban Centres, Rural Settlement and Castles of the Military Orders in the Latin East (c. 1120-1291). New York: Routledge, 2006. CR4701 B63 2006ebChavannes-Mazel, Claudine A. "The Jerusalem Miniatures in Maerlant's Rijmbijbel 10 B 21 and in the Hornby Book of Hours: Questions of Context and Meaning." Quaerendo 41, no. 1/2 (Spring 2011): 139-154.Folda, Jaroslav. " SEQ CHAPTER \h \r 1Images of Queen Melisende in Manuscripts of William of Tyre's History of Outremer: 1250-1300." Gesta 32, no. 2 (1993): 97-112. Gaudette, Helen A. "The Spending Power of a Crusader Queen: Melisende of Jerusalem. SEQ CHAPTER \h \r 1Women and Wealth in Late Medieval Europe [electronic source]," Theresa Earenfight, ed. (Basingstoke: Palgrave Macmillan, 2010), 135-148.Gerber, Haim. Remembering and Imagining Palestine: Identity and Nationalism from the Crusades to the Present (Basingstoke; New York: Palgrave Macmillan, 2008). DS 125.5 G47 2008 Reserve, Webster LibraryJacoby, SEQ CHAPTER \h \r 1Zehava. "The Workshop of the Temple Area in Jerusalem in the Twelfth Century: Its Origin, Evolution and Impact." Zeitschrift für Kunstgeschichte 45, no. 4 (1982): 325-394. Kühnel, Bianca. "The Perception of History in Thirteenth‐Century Crusader Art" in France and the Holy Land: Frankish Culture at the End of the Crusades, eds. D. H. Weiss and L. Mahoney (Baltimore & London: The Johns Hopkins University Press, 2004), pp. 161-186. SEQ CHAPTER \h \r 1D 161.5 F7F73 2004Whatley, Laura Julinda. "Localizing the Holy Land: The Visual Culture of Crusade in England, Circa 1140-1307." University of Illinois at Urbana-Champaign, 2010. Ann Arbor: ProQuest.Islamization of Space and Society in Mamluk Jerusalem (1260-1517) SEQ CHAPTER \h \r 1Assetto, Anthony, et. al. Ottoman Sabils of Jerusalem. Drexel University, March 2010. SEQ CHAPTER \h \r 1Assi, Eman. “Community Involvement in a Housing Renewal Project in the Old City of Jerusalem.” Journal of Architectural Conservation 8, no. 1 (2002): 74-85.Bloom, Jonathan, "The Minaret Symbol of Faith & Power." Saudi Aramco World March/April 2002: 26-35. [Internet] SEQ CHAPTER \h \r 1Emek Shaveh. The Mamilla Cemetery in West Jerusalem: A Heritage Site at the Crossroads of Politics and Real Estate. SEQ CHAPTER \h \r 1Grabar, Oleg. "Reflections on Mamluk Art." Muqarnas 2 (1984); 1-12.Little, Donald P. "Mujīr al-Dīn al-?Ulaymī's Vision of Jerusalem in the Ninth/Fifteenth Century." Journal of the American Oriental Society 115, no. 2 (April- June 1995): 237-247. SEQ CHAPTER \h \r 1 Rabbat, Nasser. "Perception of Architecture in Mamluk Sources." Mamluk Studies Review 6 (2002): 155-76.Schaefer, Karl R. Jerusalem in the Ayyubid and Mamluk Eras (Palestine, Cities, Crusades). New York University, 1985 Ann Arbor, ProQuest.Smith, Andrew W., SEQ CHAPTER \h \r 1Mamluk Jerusalem: A Study of Cultural, Political and Religious Influences on the Architecture and Buildings of the City, paper for Historical Geography of Jerusalem course, Fall 2008-9 [Internet]Ottoman Jerusalem and Modernization (1516-1917) SEQ CHAPTER \h \r 1Amiri, Avner, and Annabel Wharton. "Home in Jerusalem: the American Colony and Palestinian Suburban Architecture." Post-Medieval Archaeology 45, no. 2 (November 2011): 237-265. SEQ CHAPTER \h \r 1Bair, Barbara. "The American Colony Photography Department: Western Consumption and 'Insider' Commercial Photography." Jerusalem Quarterly 44 (Winter 2010): 29-38. SEQ CHAPTER \h \r 1Baram, Uzi. "Images of the Holy Land: The David Roberts Paintings as Artifacts of 1830s Palestine." Historical Archaeology 41, no. 1, Between Art & Artifact (2007): 106-117.Boase, T.S.R. "Biblical Illustration in Nineteenth-Century English Art." Journal of the Warburg and Courtauld Institutes 29 (1966): 349-367. Cohen, Amnon. The Guilds of Ottoman Jerusalem (Leiden, Boston: Brill, 2001). HD 6473 I754J473 2001 ?Reserve, Webster Library SEQ CHAPTER \h \r 1El-Hage, Badr. “The Armenian Pioneers of Middle Eastern Photography.” Jerusalem Quarterly 31 (2007): 22–26. SEQ CHAPTER \h \r 1 Fuchs, Ron. "The Palestinian Arab House and the Islamic 'Primitive Hut'." Muqarnas 15 (1998): 157-177. Hallote, Rachel. "Photography and the American Contribution to Early 'Biblical' Archaeology, 1870-1920." Near Eastern Archaeology 70, no. 1 (March 2007): 26-41. Innes, Randy. Jérusalem Revisited: On Auguste Salzmann's Photo-Topography." Religion and the Arts 15, no. 3 (2011): 306-337.Israel Antiquities Authority. The Conservation of Jerusalem's City Walls [Internet] SEQ CHAPTER \h \r 1Jacobson, Abigail R. From Empire to Empire: Jerusalem between Ottoman and British Rule (Syracuse: Syracuse University Press, 2011). DS 109.925 J33 2011; Jacobson, Abigail. From Empire to Empire: Jerusalem between Ottoman and British Rule. [electronic resource] Syracuse: Syracuse University Press, 2011. DS 109.925 J33 2011eb SEQ CHAPTER \h \r 1Jacobson, David M. "Charles Warren: An Appraisal of his Contribution to the Archaeology of Jerusalem." STRATA: Bulletin of the Anglo-Israel Archaeological Society 27 (January 2009): 31-61. Kark, Ruth, and Shimon Landman. "The Establishment of Muslim Neighbourhoods outside the Old City during the Late Ottoman Period." Palestine Exploration Quarterly 112 (1980): 113–135.Landow, George P. "William Holman Hunt's 'Oriental Mania' and His Uffizi Self-portrait." Art Bulletin 64, no. 4 (December 1982): 646-655.Larsen, Timothy. A People of One Book: The Bible and the Victorians [electronic version] (Oxford: Oxford University Press, 2011).Moscrop, John James. Measuring Jerusalem : The Palestine Exploration Fund and British Interests in the Holy Land. London; New York : Leicester University Press, 2000. DS 111 A1M67 2000Nassar, Issam. "Jerusalem in the Late Ottoman Period: Historical Writing and the Native Voice," in Tamar Mayer and Suleiman Mourad, eds., Jerusalem: Idea and Reality [electronic resource] (London: Routledge, 2008), 205-222.Nassar, Issam. European Portrayals of Jerusalem: Religious Fascinations and Colonialist Imaginations (Lewiston: Edwin Mellen Press, 2006). DS 109.9 N37 2006 Reserve, Webster LibraryNassar, Issam. "Familial Snapshots: Representing Palestine in the Work of the First Local Photographers." History and Memory 18, no. 2, Special Issue: Home and Beyond: Sites of Palestinian Memory (Fall/Winter 2006): 139-155. SEQ CHAPTER \h \r 1Natsheh, Y. “My Memories of Khassaki Sultan or the 'Flourishing Edifice'.” Jerusalem Quarterly no. 7 (Winter 2000): 29–35. SEQ CHAPTER \h \r 1Nir, Yeshayahu. The Bible and the Image: The History of Photography in the Holy Land, 1839-1899 (Philadelphia: University of Pennsylvania Press, 1985). TR 113 I75N57 1985 Reserve, Webster LibraryShamir, Milette. "Our Jerusalem": Americans in the Holy Land and Protestant Narratives of National Entitlement." American Quarterly 55, no. 1 (March 2003): 29-60.Silberman, Neil Asher. "Desolation and Restoration: The Impact of a Biblical Concept on Near Eastern Archaeology." Biblical Archaeologist 54, no. 2 (June SEQ CHAPTER \h \r 11991): 76-87. SEQ CHAPTER \h \r 1Singer, Amy. Constructing Ottoman Beneficence: An Imperial Soup Kitchen in Jerusalem (Albany: State University of New York Press, 2002). BP 170.25 S56 2002 Reserve, Webster Library SEQ CHAPTER \h \r 1Wallach, Yair. "Nostalgia and Promise in Jerusalem's Derelict Ottoman Railway Station." Jerusalem Quarterly 38 (Summer 2009): 69-77. SEQ CHAPTER \h \r 1 Whiting, SEQ CHAPTER \h \r 1Charlotte. "Geographical Imaginations of the 'Holy Land': Biblical Topography and Archaeological Practice." Nineteenth Century 29 (June 2007):237-250.Pilgrimages to Jerusalem, the Way of the SoulsCampbell, Mary Baine. "Holy Land USA: Thirteen Photographs, a Poem, and Two Excurses." Religion & Literature 35, no. 2/3 (Summer-Autumn 2003): 143-171.Caron, Isabelle. Le Cyclorama De Jerusalem a Sainte-Ann-De-Beaupre Et La Question De Ses Origines. Universite Laval (Canada), 2000 Ann Arbor, ProQuest. SEQ CHAPTER \h \r 1Connolly, Daniel K. "Imagined Pilgrimage in the Itinerary Maps of Matthew Paris." Art Bulletin 81, no. 4 (1999): 598-622. Connolly, Daniel Kevin. "Imagined Pilgrimage in Gothic Art: Maps, Manuscripts and Labyrinths." University of Chicago, 1998. Ann Arbor: ProQuest.Davis, John. "Frederic Church's 'Sacred Geography'." American Art 1, no. 1 (Spring 1987): 78-96.Hill-Smith, Connie. "Cyberpilgrimage: The (Virtual) Reality of Online Pilgrimage Experience." Religion Compass 5, no. 6 (June 2011): 236-246. Gaposchkin, Cecilia. "The Role of Jerusalem in Western Crusading Rites of Departure (1095-1300)." Catholic Historical Review 99, no. 1 (2013), 1-28.Hunmel, Thomas. "Russian Pilgrims: A Peasant Army Invades Jerusalem." Jerusalem Quarterly 44 (Winter 2010): 39-44. Kirkland-Ives, Mitzi. "Narrative Performance and Devotional Experience in the Art of Hans Memling." University of California, Santa Barbara, 2005. Ann Arbor: ProQuest Merback, Mitchell B. "Fount of Mercy, City of Blood: Cultic Anti-Judaism and the Pulkau Passion Altarpiece." Art Bulletin 87, no. 4 (December 2005): 589-642.Merback, Mitchell B. Pilgrimage & Pogrom: Violence, Memory, and Visual Culture at the Host-miracle Shrines of Germany and Austria (Chicago: University of Chicago Press, 2012). BX 2320.5 G3M47 2012 Reserve, Webster LibraryPanzanelli, Roberta. "Pilgrimage in Hyperreality: Images and Imagination in the Early Phase of the "New Jerusalem" at Varallo (1486-1530)." University of California, Los Angeles, 1999. Ann Arbor: ProQuest. Web. 10 July 2014.Rudy, Kathryn M. "Pilgrim's Memories of Jerusalem: London, Wallace Collection MS M319." Journal of the Warburg and Courtauld Institutes 70 (2007): 311-325. SEQ CHAPTER \h \r 1 van der Haven, Alexander. “The Holy Fool still speaks : the Jerusalem Syndrome as a Religious Subculture,” in Jerusalem: Idea and Reality [electronic resource], Tamar Mayer and Suleiman Ali Mourad, eds. (London: Routledge, 2008), 103-122 .Wharton, Annabel Jane. Selling Jerusalem: Relics, Replicas, Theme Parks (Chicago: University of Chicago Press, 2006) DS 109.9 W53 2006. Reserve, Webster LibraryWoodall, Joanna. "Painted Immortality: Portraits of Jerusalem Pilgrims by Antonis Mor and Jan van Scorel." Jahrbuch der Berliner Museen 31 (1989): 149-163.New Jerusalem, Heavenly JerusalemBahat, Dan with Chaim T. Rubinstein. The Illustrated Atlas of Jerusalem. Jerusalem: Carta Jerusalem, 1996. G 2239 J4B2713 1996 SEQ CHAPTER \h \r 1Bjelajac, David .“Thomas Cole's Oxbow and the American Zion Divided.” American Art, 20, no. 1 2006): 60-83.Davis, John. The Landscape of Belief: Encountering the Holy Land in Nineteenth-century American Art and Culture (Princeton: Princeton University Press, 1996). N 8214.5 I75D38 1996 Reserve, Webster LibraryGraves, C. Pamela. "Building a New Jerusalem: The Meaning of a Group of Merchant Houses in Seventeenth-Century Newcastle upon Tyne, England." International Journal of Historical Archaeology 13, no. 4 (December 2009): 385-408.Gorenberg, Gershom. The End of Days : Fundamentalism and the Struggle for the Temple Mount. Oxford; New York : Oxford University Press, 2002. SEQ CHAPTER \h \r 1DS 109.28 G67 2002Grubb, Andrew Barton. "What has Cambridge to do with Jerusalem? some 12th-Century Copies of the Church of the Holy Sepulchre in their English Context." University of Louisville, 2007. Ann Arbor: ProQuest.McClung, William A. The Architecture of Paradise: Survivals of Eden and Jerusalem (Berkeley: University of California Press, 1983). NA 2500 M38 1983 Reserve, Webster LibraryMitchell, W. J. T. "Holy Landscape: Israel, Palestine, and the American Wilderness." Critical Inquiry 26, no. 2 (Winter 2000): 193-223. SEQ CHAPTER \h \r 1Morrison, Tessa. Isaac Newton's Temple of Solomon and his Reconstruction of Sacred Architecture [electronic resource]. Basel : Birkh?user, 2011. NA 243 M67 2011ebRubin, Rehav. " SEQ CHAPTER \h \r 1Sacred Space and Mythic Time in the Early Printed Maps of Jerusalem, in Tamar Mayer and Suleiman Mourad, eds., Jerusalem: Idea and Reality [electronic resource] (London and New York: Routledge, 2008), 123-139. ?edinová, Hana. "The Symbolism of the Precious Stones in St. Wenceslas Chapel." Artibus et Historiae 20, no. 39 (1999): 75-94.?edinová, Hana. "The Precious Stones of Heavenly Jerusalem in the Medieval Book Illustration and their Comparison with the Wall Incrustation in St. Wenceslas Chapel." Artibus et Historiae 21, no. 41 (2000): 31-47. SEQ CHAPTER \h \r 1Sklar, Susanne Marie. Blake's Jerusalem as Visionary Theatre [electronic resource]: Entering the Divine Body. (Oxford : Oxford University Press, 2011).Shamir, Milette. Back to the Future: The Jerusalem Exhibit at the 1904 St. Louis World’s Fair." Journal of Levantine Studies, 2, no. ,( Summer 2012): 93-11. under the British Mandate (1916-1948)Abu El-Haj, Nadia. "Producing (Arti) Facts: Archaeology and Power during the British Mandate of Palestine." Israel Studies 7, no. 2 (Summer 2002): 33-61. Gitler, Inbal Ben Asher. "Marrying Modern Progress with Treasured Antiquity": Jerusalem City Plans during the British Mandate, 1917-1948." Traditional Dwellings and Settlements Review, 15, no. 1 (Fall 2003): 39-58 .Davidson, Lawrence. "Biblical Archaeology and the Press: Shaping American Perceptions of Palestine in the First Decade of the Mandate." Biblical Archaeologist 59, no. 2 (June 1996): 104-114. SEQ CHAPTER \h \r 1Fuchs, Ron. Sites of Memory in the Holy Land: The Design of the British War Cemeteries in Mandate Palestine. Journal of Historical Geography, 30, no. 4 (October 2004): 643-664.Fuchs, Ron, and Gilbert Herbert. "Representing Mandatory Palestine: Austen St. Barbe Harrison and the Representational Buildings of the British Mandate in Palestine, 1922-37." Architectural History 43 (2000): 281-333.Gitler, Inbal Ben-Asher, "Reconstructing Religions: Jewish Place and Space in the Jerusalem YMCA Building, 1919-1933." Zeitschrift für Religions- und Geistesgeschichte 60, no. 1 (2008): 41-46. Hysler‐Rubin N. "Arts & Crafts and the Great City: Charles Robert Ashbee in Jerusalem." Planning Perspectives 21, no. 4 (October 2006): 347-368.Kalmar, Ivan Davidson and Derek J. Penslar, eds. Orientalism and the Jews (Waltham, Mass.: Brandeis University Press; Hanover: University Press of New England, 2005). see: Dalia Manor, "Orientalism and Jewish National Art: The Case of Bezalel." DS 61.85 O753 Reserve, Webster Library SEQ CHAPTER \h \r 1Katz, Kimberly. "Building Jordanian Legitimacy: Renovating Jerusalem's Holy Places." Muslim World 93, no 2 (April 2003): 211–232. SEQ CHAPTER \h \r 1Mayer, Tamar. “ Jerusalem in and out of Focus : the City in Zionist Ideology” in Jerusalem: Idea and Reality [electronic resource], eds. Tamar Mayer and Suleiman Ali Mourad (London: Routledge, 2008), 224-244.Nitzan-Shiftan, Alona. "Contested Zionism Alternative Modernism: Erich Mendelsohn and the Tel Aviv Chug in Mandate Palestine." Architectural History 39 (1996): 147-180.Pullan, Wendy and Lefkos Kyriacou. "The Work of Charles Ashbee: Ideological Urban Visions with Everyday City Spaces." Jerusalem Quarterly 39 (Autumn 2009): 51-61. SEQ CHAPTER \h \r 1Sherrard, Brooke. American Biblical Archaeologists and Zionism: The Politics of Historical Ethnography. Florida State University, 2011. ProQuest. Zerubavel, Yael. 2008. "Memory, the Rebirth of the Native, and the 'Hebrew Bedouin' Identity." Social Research 75, no. 1: 315-352.Israeli-Jewish artists and ZionThe 50 Years War: Israel And The Arabs , Maoz and Arnon Golan. "Photography, Memory, and Ethnic Cleansing: The Fate of the Jewish Quarter of Jerusalem, 1948—John Phillips’ Pictorial Record Israel Studies." Israel Studies 17, no. 2 (Summer 2012): 62-76.Dekel, Tal. "Feminist Art Hitting the Shores of Israel." Frontiers: A Journal of Women Studies 33, no. 2 (2012): 111-128.Mitchell, W. J. T. "Bi-National Allegory: Israel-Palestine and the Art of Larry Abramson." Studies in Romanticism 49, no. 4 (Winter 2010): 659-669."Sister: Mizrahi Women Artists in Israel, a Conversation with Art, Shula Keshet, Sigal Eshed, Ahuva Mu'alem, Shuli Nachshon, Zmira Poran Zion, Dafna Shalom, Chen Shish, Parvin Shmueli-Buchnik and Orna Zaken." Bridges, Writing and Art by Jewish Women of Color 19, no. 1 (Summer, 2001): 49-58.Trajtenberg, Graciela. "Plastic Arts and Nation-building in Israel." Nations & Nationalism 8, no. 2 (April 2002): 215-234. Wei, Lilly. "The Homeland Within." Art in America 98, no. 3 (2010): 71-77. Wei, Lilly. "Where History Becomes Art." Art in America 98, no. 1 (January 2010): 51-56.Werner, Alfred. "Chagall's Jerusalem Windows." Art Journal 21, no. 4 (Summer 1962): 224-232. SEQ CHAPTER \h \r 1 Zalmona, Yigal. “The Beauty of Weakness,” in A Century of Israeli Art (Ashgate, 2013). Artists, Nationalism and Self-DeterminationAkash, Munir, ed. The Open Veins of Jerusalem. Arlington; Jusoor; Syracuse: Distributed by Syracuse University Press, 2005. DS 119.7 O60 2005 SEQ CHAPTER \h \r 1Ankori, Gannit. Palestinian Art (London: Reaktion, 2006). N 7277 A45 2006 ?Reserve, Webster LibraryBoullata, SEQ CHAPTER \h \r 1Kamal. Art (excerpts from the Encyclopedia of the Palestinians), Palestinian American Research Center (PARC), 2000. [Internet] SEQ CHAPTER \h \r 1Boullata, Kamal. "Art under the Siege." Journal of Palestine Studies 33, no. 4 (Summer 2004): 70-84. Boullata, Kamal. "Artists Re-Member Palestine in Beirut." Journal of Palestine Studies 32, no. 4 (Summer 2003): 22-38. Boullata, Kamal. "Asim Abu Shaqra: The Artist's Eye and the Cactus Tree." Journal of Palestine Studies 30, no. 4 (Summer 2001): 68-82. Kamal Boullata, “Facing the Forest: Israeli and Palestinian Artists.” Third Text 3, no. 7 (1989): 77-95. Boullata, Kamal. "Jerusalem in the Heart - Two Urban Artists in Exile." Jerusalem Quarterly SEQ CHAPTER \h \r 1 20, no. 1 ( Winter 2004): 73-77. Boullata, Kamal. "To Measure Jerusalem: Explorations of the Square." Journal of Palestine Studies 28, no. 3 (April 1999): 83-91. SEQ CHAPTER \h \r 1Boullata, Kamal. Palestinian Art 1850-2005 (London: Saqi, 2009). N 7277 B68 2009 ?Reserve, Webster LibraryBoullata, SEQ CHAPTER \h \r 1Kamal. "Palestinian Expression inside a Cultural Ghetto." Middle East Report no. 159 (July-August 1989): 24-28. SEQ CHAPTER \h \r 1Boullata, Kamal. "Pioneering Women in Palestinian Art." , Kamal, “The View from No-Man's Land,” Michigan Quarterly Review 31, no. 4 (Fall 1992): 579-590. Cestar, Juliet. "Raeda Saadeh: The Novel of Nonel and Vovel." SEQ CHAPTER \h \r 1Fisher, Jean. “Palestinian Art: From 1850 to the Present.” Third Text 24, no. 4 (2010): 481-489. (review of Boullata's book)Gandolfo, K. Luisa. "Representations of Conflict: Images of War, Resistance, and Identity in Palestinian Art." Radical History Review 106 (Winter 2010): 47-51.Khalidi, Rashid, The Iron Cage : The Story of the Palestinian Struggle for Statehood (Boston: Beacon Press, 2007). DS 113.6 K365 2007 Khan, Sharmeen. Sacred Space and Sacred Symbol: Hamas' use of Jerusalem during the First the First Intifada. McGill University (Canada), 2004 Ann Arbor, ProQuest. SEQ CHAPTER \h \r 1Krohn, Zia and Joyce Lagerweij. Concrete Messages : Street Art on the Israeli-Palestinian Separation Barrier (?rsta, Sweden : Dokument Press, 2010). ND 2820 A1K76 2010 Reserve, Webster LibrarySherwell, Tina. "Jerusalem: City of Dreams." Jerusalem Quarterly 49 (Spring 2012): 43-53. SEQ CHAPTER \h \r 1Sherwell, Tina. "Topographies of Identity, Soliloquies of Place." Third Text 20, no. 3/4 (2006): 429-443.Tamari, Salim, ed. Jerusalem 1948: the Arab Neighbourhoods and their Fate in the War (Jerusalem: Institute of Jerusalem Studies; Bethlehem : Badil Resource Center for Palestinian Residency and Refugee Rights), 2002. SEQ CHAPTER \h \r 1DS 109.93 J47 2002 [electronic resource, Internet] SEQ CHAPTER \h \r 1Tamari, Vladimir Faik. "Influences and Motivations in the Work of a Palestinian Artist/Inventor." Leonardo 24, no. 1 (1991): 7-14.Jerusalem To-day: Architecture, Urban Space and Contested IdentitiesAbowd, Thomas Philip. Landscapes of Exclusion: The Spatial Construction of Identity and the Politics of Difference in Contemporary Jerusalem. Columbia University, 2003 Ann Arbor, ProQuest.Anderson, Richard T. "New Agency: Re-Imagining the Divisive Formality of Jerusalem's Urban Boundaries." Order No. MR83193 Carleton University (Canada), 2011. Ann Arbor: ProQuest.Abu El-Haj, Nadia. Facts on the Ground: Archaeological Practice and Territorial Self-fashioning in Israeli Society (Chicago: University of Chicago Press, 2001). See “Excavating Jerusalem.” DS 111.1 A28 2001 Reserve, Webster LibraryAzoulay, Ariella. Death's Showcase: The Power of Image in Contemporary Democracy (Cambridge: MIT Press, 2001). See: "The [Simulated] City: Jerusalem"; "Save as Jerusalems." NX 650 D4A99 2001 Reserve, Webster LibraryBrog, Mooli, "Victims and Victors: Holocaust and Military Commemoration in Israel Collective Memory." Israel Studies 8, no 3 (Fall 2003): 65-99. SEQ CHAPTER \h \r 1 SEQ CHAPTER \h \r 1 SEQ CHAPTER \h \r 1 SEQ CHAPTER \h \r 1City of Collision: Jerusalem and the Principles of Conflict Urbanism [electronic resource], eds. Philipp Misselwitz and Tim Rieniets; editorial team: Zvi Efrat, Rassem Khamaisi, Rami Nasrallah (Birkh?user Architecture, 2006). SEQ CHAPTER \h \r 1De-Shalit, Avner. “Jerusalem: The City of Religion.” In The Spirit of Cities: Why the Identity of a City Matters in a Global Age, eds. Daniel A. Bell and Avner de-Shalit. Princeton: Princeton University Press, 2011. HT 151 B415 2011Dean, Andrea Oppenheimer. "Moshe Safdie Offers a Memorial Journey through the Depths of a Jerusalem Hillside with his Yad Vashem History Museum." Architectural Record 193, no. 7 (2005): 112-119. SEQ CHAPTER \h \r 1Delisle, Guy. Jerusalem: Chronicles from the Holy City. Montréal: Drawn & Quarterly, 2012.) PN 6733 D44C4713 2012Dumper, Michael and Craig Larkin. "The Politics of Heritage and the Limitations of International Agency in Contested Cities: A Study of the Role of UNESCO in Jerusalem's Old City." Review of International Studies, 38, no. 1 (January 2012): 25-52.Goldman, Natasha. "Israeli Holocaust Memorial Strategies at Yad Vashem: From Silence to Recognition." Art Journal 65, no. 2 (Summer 2006): 102-122.Goldstein, SEQ CHAPTER \h \r 1Kaylin. "Citadel into David's Tower: Palestinian Memory and the Multicultural Fantastic." Radical History Review 99 (Fall 2007): 173-186. SEQ CHAPTER \h \r 1Grabar, Oleg, and Benjamin Z. Kedar, ed. Where Heaven and Earth Meet: Jerusalem's Sacred Esplanade. Jerusalem : Yad Ben-Zvi Press ; Austin : University of Texas Press, 2009. DS 109.28 W47 2009 SEQ CHAPTER \h \r 1Guinn, David E. Protecting Jerusalem's Holy Sites [electronic resource]: A Strategy for Negotiating a Sacred Peace. Cambridge: Cambridge University Press, 2006. KZ4284 G85 2006ebHawari, Mahmoud. "Capturing the Castle: Archaeology, Architectural History and Political Bias at the Citadel of Jerusalem." SEQ CHAPTER \h \r 1Jerusalem Quarterly 55 (Autumn 2013). , Eyal and Doron Bar. Planning and Conserving Jerusalem, 1973-2003 : The Challenge of An Ancient City. Jerusalem : Yad Izhak Ben-Zvi, 2009. HT 169 J4P53 2009 Reserve Webster LibraryNitzan-Shiftan, Alona. "Frontier Jerusalem: The Holy Land as a Testing Ground for Urban Design." Journal of Architecture 16, no. 6 (2011): 915-940.Nitzan-Shiftan, SEQ CHAPTER \h \r 1Alona. "The Israeli 'Place' in East Jerusalem: How Israeli Architects Appropriated the Palestinian Aesthetic after the '67 War.” Jerusalem Quarterly 27 (Summer 2006): 15-27. Nitzan-Shiftan, SEQ CHAPTER \h \r 1Alona. "On Concrete and Stone: Shifts and Conflicts in Israeli Architecture." Traditional Dwellings and Settlements Review, 21, no. 1 (Fall 2009): 51-65. Pullan, Wendy, and Maximilian Gwiazda. “'City of David': Urban Design and Frontier Heritage." Jerusalem Quarterly 39 (Autumn 2009): 29-38. SEQ CHAPTER \h \r 1 SEQ CHAPTER \h \r 1Pullan, Wendy, and Maximilian Gwiazda, "Designing the Biblical Present in Jerusalem's 'City of David'," in Memory Culture and the Contemporary Building City Sites [electronic resource], Staiger, Henriette and Andrew Webber, eds. (Basingstoke : Palgrave Macmillan, 2009).Pullan, Wendy, and Maximilian Sternberg. "The Making of Jerusalem's ‘Holy Basin’." Planning Perspectives 27, no. 2 (April 2012): 225-248. SEQ CHAPTER \h \r 1Rajjal, Yasser Ibrahim. “Jerusalem: Occupation and Challenges to Urban Identity.” Islamic Studies, 40, no. 3/4 (Autumn-Winter 2001): 439-451, 453-462. SEQ CHAPTER \h \r 1Reiter, Yitzhak. "Narratives of Jerusalem and its Sacred Compound." Israel Studies 18, no. 2 (Summer2013): 115-132. SEQ CHAPTER \h \r 1Ricca, Simone. Reinventing Jerusalem : Israel's Reconstruction of the Jewish Quarter after 1967. London : I.B. Tauris, 2007. DS 109.8 J45R53 2007 SEQ CHAPTER \h \r 1Safdie, Moshe. Jerusalem: The Future of the Past. Boston: Houghton Mifflin, 1989. NA 1478 J4S24 1989 SEQ CHAPTER \h \r 1Safdie, Moshe et. al. Yad Vashem: Moshe Safdie - The Architecture of Memory. Baden: Lars Müller, 2006. D 804.175 J47Y33 2006Scham, Sandra Arnold. "The Archaeology of the Disenfranchised." Journal of Archaeological Method and Theory 8, no. 2 (June 2001): 183-213.Wasserstein, Bernard. Divided Jerusalem: The Struggle for the Holy City (New Haven: Yale University Press, 2008). DS 109.93 W37 2008 Reserve, Webster Library SEQ CHAPTER \h \r 1Weizman, Eyal. Hollow Land: Israel's Architecture of Occupation. London: Verso, 2007.HD 850.5 Z63W45 2007Wilson, Stephanie Gerber. ""Cultural Citadel": Creating Jerusalem's Tower of David Museum."Brandeis University, 2006. Ann Arbor: ProQuest. Yacobi, Haim. "Form Follows Metaphors: A Critical Discourse Analysis of the Construction of the Israeli Supreme Court Building in Jerusalem." Journal of Architecture 9, no. 2 (2004): 219-239.Literary sources: Free, mainly older, on-line books on Palestine and Jerusalem: : Duke University Libraries, Books, On-line Resources and Exhibits in Time: in Space: Behaviour: The Department of Art History supports student use of technology in the classroom only when that use is directly related to the lecture, such as using a laptop for the purpose of taking notes, or using the Internet at the professor's request. Using technology to engage in email, gaming, text messaging, chatting or surfing the Internet is not permitted during lectures. Not only does this use interfere with the user's own capacity to listen and learn, it also disturbs students sitting nearby. Any technology that captures images of other students without their permission is also in violation of Canadian privacy laws. Using handheld technology during examinations is considered an academic offense.Language of Instruction, Assignments, and Tests: Lectures, course materials, and assignments will be given in English. Students may write in English or French. Structure, grammar, spelling, and writing style are graded, as well as research and critical thinking. Writing assistance is available through Concordia Counselling and Development: Assistance: To learn how to make good use of the library – its holdings and electronic resources – go to: Integrity: Students are reminded to review the Concordia Code of Conduct to be certain that they are not guilty of plagiarism or other unethical practices. The Code of Conduct (Academic) is a University policy that outlines the procedures by which academic honesty or integrity is enforced. It outlines offenses, procedures for dealing with offenses and possible sanctions if charges are upheld. The Code of Conduct (Academic) can be found in the University Calendar or on the Concordia website at Please pay particular attention to Section III which outlines well known offenses, such as plagiarism, and some you may not think are wrong, such as a multiple submission. ................
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