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Item Alfred Stieglitz and New York Dada(Taylor & Francis, 1997) Brennan, MarciaItem Alfred Stieglitz and Paul Rosenfeld: An Aesthetics of Intimacy(Taylor & Francis, 1999) Brennan, MarciaItem Book review of Daniel O. Bell's A Pious Bacchanal: Affinities between the Lives and Works of John Flaxman and Aubrey Beardsley(The North American Conference on British Studies, 2001) Brennan, MarciaItem Book review of David Goodway's Herbert Read Reassessed(The North American Conference on British Studies, 2000) Brennan, MarciaItem Complicating Medieval Anti-Semitism: The Role of Class in Two Tales of Christian Violence against Jews(The University of Chicago Press, 2016) Wolfthal, DianeMiri Rubin justly concluded that “most remaining traces” of medieval atrocities against Jews “represent the position of Christian authorities—chroniclers, preachers, town officials—who were almost always writing in defence or celebration of the events.” The exceptions to this rule, however, are illuminating. This article explores images produced for Christians that condemn Christian acts of violence against Jews. Although these are few in number, their existence complicates our understanding of medieval anti-Semitism. The first part of the essay investigates an episode in a fourteenth-century French chronicle, the pillage of the Jews of Paris in 1380. The second part examines depictions of the fable of the murdered Jew, which date from the late thirteenth through the fifteenth century. Both narratives—one drawn from a historical event, the other grafted onto an ancient fable—portray the Jew as the innocent victim and the Christian as the treacherous assailant. In so doing, they reverse the better-known paradigm of the Jew as the evil aggressor who attacks innocent Christian boys or the consecrated host. This essay considers the circumstances that enabled some Christians to view with sympathy the figure of a vulnerable, attacked Jew and proposes that sometimes class interests trumped religious prejudice.Item Living with the Living: A Preview of Flowering Light(Arts Council England, 2009) Brennan, MarciaItem On the Road with Baldwin(Manchester University Press, 2024) O’Malley, HayleyItem Review of "Creative Composites: Modernism, Race, and the Stieglitz Circle"(Johns Hopkins University Press, 2013-01) Brennan, MarciaItem Review of "Upside Down: Arctic Realities"(College Art Association, 2012) Brennan, MarciaItem Review of Christopher A. Dustin and Joanna E. Ziegler's Practicing Mortality: Art, Philosophy, and Contemplative Seeing(Bloomsbury Publishing, 2006-11) Brennan, MarciaItem Review of Donna M. Cassidy's Marsden Hartley: Race, Religion, and Nation(College Art Association, 2006) Brennan, MarciaItem Review of Jennifer Gross's The Société Anonyme: Modernism for America(College Art Association, 2007) Brennan, MarciaItem Review of Kristina Wilson's The Modern Eye: Stieglitz, MoMA, and the Art of the Exhibition, 1925-1934(College Art Association, 2010) Brennan, MarciaItem Review of Linda Gertner Zatlin's Beardsley, Japonisme, and the Perversion of the Victorian Ideal(The North American Conference on British Studies, 1999) Brennan, MarciaItem Review of Ruth Bromberg's Walter Sickert: Prints: A Catalogue Raisonné(The North American Conference on British Studies, 2001) Brennan, MarciaItem Review of Vivien Green Fryd, Art and the Crisis of Marriage(College Art Association, 2003) Brennan, MarciaItem Review of Ysanne Holt's British Artists and the Modernist Landscape(The North American Conference on British Studies, 2004) Brennan, MarciaItem Slants and Right Angles: Review of Jacket Magazine(Arts Council England, 2008) Brennan, MarciaItem The Moment in Rembrandt’s Night Watch(GISI - UniTO, 2022) Manca, JosephRembrandt van Rijn’s famous Night Watch is a complex painting and operates on many different levels. This article stresses both the narrative and the moral qualities of the painting, and looks at the interplay between art and philosophy, with a focus on the moment represented and how an incident plays out in a broadly ethical sense across the picture. The painting achieves a kind of unity through the representation of the musket blast, which disturbs or affects a good number of the figures in the scene. In addition, the lack of reaction to the shot on the part of the captain and lieutenant offers us a vivid image of military bravery and firm leadership: they remain focused on their duties, and carry out their tasks with stoical calm. The moment of the firing of the gun thus helps to explain both some of the figural action as well as offering an essential moral meaning of Rembrandt’s masterpiece.