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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
König im großen Welttheater
Hinter die Kulissen des Lebens Ludwigs XIV. schauen, eines Monarchen, mit dem sich so viele Klischees verbinden, und einen Eindruck vom „wahren“ Leben hinter dem roten Samtvorhang vermitteln – das will die Biographie von
Sven Externbrink.
Ausdrücklich richtet sich dieses Buch nicht nur an Fachhistoriker, sondern bringt auch dem historisch interessierten Laien eine sehr ferne und fremde Epoche nahe. Dabei bricht das Buch mit der traditionellen chronologischen Darstellung eines Lebens, beginnend mit der Geburt und endend mit dem Tod. Statt dessen blicken wir aus verschiedenen Perspektiven auf den Sonnenkönig – beginnend mit seiner Person, zweitens mit dem Blick auf Zeitgenossen, Untertanen, Monarchie und Ludwigs Regierung, drittens auf Ludwig und Europa. Eingeschoben werden „Miniaturen“, in denen aus nächster Nähe Schlüsselereignisse seines Lebens thematisiert werden. Wie kaum ein anderer Monarch vor ihm in Europa hat Ludwig XIV. die Kunst in den Dienst der Monarchie gestellt. In der Person Ludwigs tritt dem Leser daher auch ein „Künstler“, und zwar ein „Schauspieler“ entgegen, der zeitlebens die Rolle des Königs gespielt hat, als Schauspieler auf der Bühne der Welt und des Lebens.
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.