An exhibition on the diverse multiculturalism of medieval Jerusalem has been ecstatically received. There’s just one problem: the vision of history it promotes is a myth.
They are still invoking dated forms of self-abnegation, or engaging in more or less ignorant forms of advocacy, or yearning for a vague universalism.
Ours is an era of museums celebrating the identity of nearly every group and ethnicity. But something else takes place when the identity in question is Jewish.
A remarkable concert reintroduces three Jewish composers who fled fascist Europe to America, where two of them pioneered a new art form—the symphonic film score.
As a powerful new exhibit shows, the 16th president felt a close connection to the Jewish people. Why?
As Wagner illustrates, anti-Semitism is more than a mere dislike of Jews—it’s a metaphysical condition that shapes the very way the world is perceived.