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Editor: Kevin Ingram
Converso and Morisco are the terms applied to those Jews and Muslims who converted to Christianity in large numbers and usually under duress in late Medieval Spain. The Converso and Morisco Studies publications will examine the implications of these mass conversions for the converts themselves, for their heirs (also referred to as Conversos and Moriscos) and for Medieval and Modern Spanish culture. As the essays in this collection attest, the study of the Converso and Morisco phenomena is not only important for those scholars focused on Spanish society and culture, but for academics everywhere interested in the issues of identity, Otherness, nationalism, religious intolerance and the challenges of modernity.
The focus of this volume is on illuminating local educational traditions and the resistance that modernization faced in particular contexts around the world. In this vein, this volume breaks from the common narrative of educational historiography privileging the imposition of European structures and its consequences on local educational traditions. Such a narrative lends to historiographical prejudice that fosters a distorted image of indigenous cultures as “historyless,” as if history was brought to them at the generosity and influence of European encounters. Fifteen multi-disciplinary scholars globally have contributed with surveys and perspectives on the history of local traditions in non-European countries before their own modernities.

Contributors include: Guochang Shen, Yongyan Wang, Xia Shen, Gaétan Rappo, Sunghwan Hwang, Jan S. Aritonang, Mere Skerrett, Saiyid Zaheer Husain Jafri, Zackery M. Heern, Judith Francis Zeitlin, Layla Jorge Teixeira Cesar, Mustafa Gündüz, Igor Fedyukin, Edit Szegedi , Inese Runce, Sigurður Gylfi Magnússon, and Davíð Ólafsson.
Carolingian, Byzantine and Romanesque Buildings (800-1200) as a Source for New All’Antica Architecture in Early Modern Europe (1400-1700)
From the fifteenth century onwards scholars and architects investigated age-old buildings in order to look for useful sources of inspiration. They too, occasionally misinterpreted younger buildings as proofs of majestic Roman or other ancient glory, such as the buildings of the Carolingian, Ottonian and Stauffer emperors. But even if the correct age of a certain building was known, buildings from c. 800 – 1200 were sometimes regarded as ‘Antique’ architecture, since the concept of ‘Antiquity’ was far more stretched than our modern periodisation allows. This was a Europe-wide phenomenon. The results are rather diverse in style, but they all share an intellectual and artistic strategy: a conscious revival of an ‘ancient’ architecture— whatever the date and origin of these models
The essays in Visualizing the Past in Italian Renaissance Art address a foundational concept that was as central to early modern thinking as it is to our own: that the past is always an important part of the present. Written by the friends, students, and colleagues of Dr. Brian Curran, former professor of Art History at the Pennsylvania State University, these authors demonstrate how reverberations of the past within the present are intrinsic to the ways in which we think about the history of art. Examinations of sculpture, painting, and architecture reveal the myriad ways that history has been appropriated, reinvented, and rewritten as subsequent generations—including the authors collected here—have attained new insight into the past and present.

Contributors include Denise Costanzo, William E. Wallace, Theresa A. Kutasz Christensen, Ingrid Rowland, Anthony Cutler, Marilyn Aronberg Lavin, Louis Alexander Waldman, Elizabeth Petersen Cyron, Stuart Lingo, Jessica Boehman, Katherine M. Bentz, Robin L. Thomas, and John Pinto.
England’s Early Africa Companies and their Traders, 1618-1672
This book directs its main focus to the Guinea Company and its members, aiming to understand the genealogy of several major changes taking place in the English Atlantic and in the Anglo-Africa trade in the 17th century and beyond. Little focus has been directed at the companies that preceded the Royal African Company, launched in 1672, and through presenting the Guinea Company - the earliest of England’s chartered Africa companies, and its relationship with the influential men who became its members, the book questions the inevitability of the Atlantic reality of the later seventeenth and eighteenth centuries. Through its members, the Guinea Company emerged as a purpose-built structure with the ability to weather a volatile trade undergoing fundamental change.
Sculpture in Print, 1480-1600 is the first monograph dedicated to the intriguing history of the translation of statues and reliefs into print. The multitude of engravings, woodcuts and etchings show a highly creative handling of the ‘original’ antique or contemporary work of art. The essays in this volume reflect these various approaches to and challenges of translating sculpture in print. They analyze foremost the beginnings of the phenomenon in Italian and Northern Renaissance prints and they highlight by means of case studies amongst many other topics the interrelated terminology between sculpture and print, lost models in print, the inventive handling of fragments, as well as the transformation of statues into narrative contexts.