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A Translation of Cihānnümā
Cihānnümā is the summa of Ottoman geography and one of the axial texts of Islamic intellectual history. Kātib Çelebi (d. 1657) sought to combine the Islamic geographical tradition with the new European discoveries, atlases and surveys. His cosmography included a comprehensive description of the regions of the world, extending westward from Japan and as far as the eastern Ottoman provinces. Ebū Bekr b. Behrām ed-Dimaşḳī (d. 1691) continued with a survey of the Arab countries and the remaining Ottoman provinces of Anatolia. İbrāhīm Müteferriḳa combined the two, with additional notes and maps of his own, in one of the earliest Ottoman printed books,
Kitāb-ı Cihānnümā (1732).
In our translation we have carefully distinguished the parts of the three authors. Based on Kātib Çelebi’s original manuscript we have made hundreds of corrections to Müteferriḳa’s text. To a limited extent we have also taken into account Kātib Çelebi’s Arabic, Persian, Turkish, Latin and Italian sources.
In our translation we have carefully distinguished the parts of the three authors. Based on Kātib Çelebi’s original manuscript we have made hundreds of corrections to Müteferriḳa’s text. To a limited extent we have also taken into account Kātib Çelebi’s Arabic, Persian, Turkish, Latin and Italian sources.
A Translation of Cihānnümā
Cihānnümā is the summa of Ottoman geography and one of the axial texts of Islamic intellectual history. Kātib Çelebi (d. 1657) sought to combine the Islamic geographical tradition with the new European discoveries, atlases and surveys. His cosmography included a comprehensive description of the regions of the world, extending westward from Japan and as far as the eastern Ottoman provinces. Ebū Bekr b. Behrām ed-Dimaşḳī (d. 1691) continued with a survey of the Arab countries and the remaining Ottoman provinces of Anatolia. İbrāhīm Müteferriḳa combined the two, with additional notes and maps of his own, in one of the earliest Ottoman printed books,
Kitāb-ı Cihānnümā (1732).
In our translation we have carefully distinguished the parts of the three authors. Based on Kātib Çelebi’s original manuscript we have made hundreds of corrections to Müteferriḳa’s text. To a limited extent we have also taken into account Kātib Çelebi’s Arabic, Persian, Turkish, Latin and Italian sources.
In our translation we have carefully distinguished the parts of the three authors. Based on Kātib Çelebi’s original manuscript we have made hundreds of corrections to Müteferriḳa’s text. To a limited extent we have also taken into account Kātib Çelebi’s Arabic, Persian, Turkish, Latin and Italian sources.
A Companion to Pietro Aretino offers exhaustive yet accessible essays aimed at understanding this complex and fascinating author. Its scope extends beyond the field of Italian studies, and includes references to other European literatures, visual arts, music, performance studies, gender studies, and social and religious history. It explores previously neglected areas of Aretino’s literary and biographical identity: in particular, his religious writings and their fortune, his relationships to visual arts and music and his fashioning of a public persona. The essays here included support the current scholarly trend that no longer considers Aretino merely as a pornographer, but interpret his work in the light of the contemporary religious debate and cultural crisis.
A Companion to Pietro Aretino offers exhaustive yet accessible essays aimed at understanding this complex and fascinating author. Its scope extends beyond the field of Italian studies, and includes references to other European literatures, visual arts, music, performance studies, gender studies, and social and religious history. It explores previously neglected areas of Aretino’s literary and biographical identity: in particular, his religious writings and their fortune, his relationships to visual arts and music and his fashioning of a public persona. The essays here included support the current scholarly trend that no longer considers Aretino merely as a pornographer, but interpret his work in the light of the contemporary religious debate and cultural crisis.
Religious Orders and Their Schools in Early Modern Italy (1500–1800)
In
Educating the Catholic People, David Salomoni reconstructs the complex Italian educational system that arose during the sixteenth century and lasted until the advent of the French Revolution. Over these three centuries, various religious orders, both male and female, took on the educational needs of cities and states of the Italian peninsula, renewing the previous humanist pedagogical tradition. Historians, however, have not so far attempted to produce a synthesis on this topic, focusing mainly on the pedagogical activity of the Jesuits. This book, without forgetting the Society of Jesus, but using it as a criterion for evaluating the work of other teaching congregations, aims at filling this gap providing a new chapter in the history of pre-modern educational institutions.
Religious Orders and Their Schools in Early Modern Italy (1500–1800)
In
Educating the Catholic People, David Salomoni reconstructs the complex Italian educational system that arose during the sixteenth century and lasted until the advent of the French Revolution. Over these three centuries, various religious orders, both male and female, took on the educational needs of cities and states of the Italian peninsula, renewing the previous humanist pedagogical tradition. Historians, however, have not so far attempted to produce a synthesis on this topic, focusing mainly on the pedagogical activity of the Jesuits. This book, without forgetting the Society of Jesus, but using it as a criterion for evaluating the work of other teaching congregations, aims at filling this gap providing a new chapter in the history of pre-modern educational institutions.
Emotions, Art, and Christianity in the Transatlantic World, c. 1450–1800 is a collection of studies variously exploring the role of visual and material culture in shaping early modern emotional experiences. The volume’s transatlantic framework moves from The Netherlands, Spain, and Italy to Mexico, Peru, Ecuador, and the Philippines, and centers on visual culture as a means to explore how emotions differ in their local and global “contexts” amidst the many shifts occurring c. 1450–1800. These themes are examined through the lens of art informed by religious ideas, especially Catholicism, with each essay probing how religiously inflected art stimulated, molded, and encoded emotions.
Contributors include: Elena FitzPatrick Sifford, Alison C. Fleming, Natalia Keller, Walter S. Melion, Olaya Sanfuentes, Patricia Simons, Dario Velandia Onofre, and Charles M. Rosenberg.
Contributors include: Elena FitzPatrick Sifford, Alison C. Fleming, Natalia Keller, Walter S. Melion, Olaya Sanfuentes, Patricia Simons, Dario Velandia Onofre, and Charles M. Rosenberg.
Emotions, Art, and Christianity in the Transatlantic World, c. 1450–1800 is a collection of studies variously exploring the role of visual and material culture in shaping early modern emotional experiences. The volume’s transatlantic framework moves from The Netherlands, Spain, and Italy to Mexico, Peru, Ecuador, and the Philippines, and centers on visual culture as a means to explore how emotions differ in their local and global “contexts” amidst the many shifts occurring c. 1450–1800. These themes are examined through the lens of art informed by religious ideas, especially Catholicism, with each essay probing how religiously inflected art stimulated, molded, and encoded emotions.
Contributors include: Elena FitzPatrick Sifford, Alison C. Fleming, Natalia Keller, Walter S. Melion, Olaya Sanfuentes, Patricia Simons, Dario Velandia Onofre, and Charles M. Rosenberg.
Contributors include: Elena FitzPatrick Sifford, Alison C. Fleming, Natalia Keller, Walter S. Melion, Olaya Sanfuentes, Patricia Simons, Dario Velandia Onofre, and Charles M. Rosenberg.