From one of the leading historians of the Jewish past comes a stunning look into a previously unexamined dimension of Jewish life and culture: the calendar. In the late sixteenth century, Pope Gregory XIII instituted a momentous reform of Western timekeeping, and with it a period of great instability. Jews, like all minority cultures in Europe, had to realign their time-keeping to accord with the new Christian calendar.
Elisheva Carlebach shows that the calendar is a complex and living system, constantly modified as new preoccupations emerge and old priorities fade. Calendars serve to structure time and activities and thus become mirrors of experience. Through this seemingly mundane and all-but-overlooked document, we can reimagine the quotidian world of early modern Jewry, of market days and sacred days, of times to avoid Christian gatherings and times to secure communal treasures. In calendars, we see one of the central paradoxes of Jewish existence: the need to encompass the culture of the other while retaining one’s own unique culture. Carlebach reveals that Jews have always lived in multiple time scales, and demonstrates how their accounting for time, as much as any cultural monument, has shaped Jewish life.
After exploring Judaica collections around the world, Carlebach brings to light these textually rich and beautifully designed repositories of Jewish life. With color illustrations throughout, this is an evocative illumination of how early modern Jewish men and women marked the rhythms and realities of time and filled it with anxieties and achievements.
Paper Memory tells the story of one man’s mission to preserve for posterity the memory of everyday life in sixteenth-century Germany. Matthew Lundin takes us inside the mind of an undistinguished German burgher named Hermann Weinsberg, whose personal writings allow us to witness firsthand the great transformations of early modernity: the crisis of the Reformation, the rise of an urban middle class, and the information explosion of the print revolution. This sensitive, faithful portrait reveals a man who sought to make sense of the changes that were unsettling the foundations of his world.
Weinsberg’s decision to undertake the monumental task of documenting his life was astonishing, since he was neither prince nor bishop, but a Catholic lawyer from Cologne with no special claim to fame or fortune. Although he knew that his contemporaries would consider his work vain and foolish, he dutifully recorded the details of his existence, from descriptions of favorite meals to catalogs of his sleeping habits, from the gossip of quarreling neighbors to confessions of his private hopes, fears, and beliefs. More than fifty years—and thousands of pages—later, Weinsberg conferred his Gedenkbuch, or Memory Book, to his descendants, charging them to ensure its safekeeping, for without his careful chronicle, “it would be as if we had never been.”
Desperate to save his past from oblivion, Weinsberg hoped to write himself into the historical record. Paper Memory rescues this not-so-ordinary man from obscurity, as Lundin’s perceptive and graceful prose recovers his extraordinary story.
Many historians have attempted to understand the violent religious conflicts of the seventeenth century from viewpoints dominated by concepts of class, gender, and demography. But few studies have explored the cultural process whereby religious symbolism created social cohesion and political allegiance. This book examines religious conflict in the parish communities of early modern England using an interdisciplinary approach that includes all these perspectives.
Daniel Beaver studies the urban parish of Tewkesbury and six rural parishes in its hinterland over a period of one hundred years, drawing on local ecclesiastical court records, sermons, parish records, corporate minutes and charity books, and probate documents. He discusses the centrality of religious symbols and ceremonies in the ordering of local societies, particularly in local conceptions of place, personal identity, and the life cycle. Four phases in the transformation of parish communities emerge and are examined in this book.
This exploration of the interrelationship of religion, politics, and society, and the transformation of local communities in civil war, has a value beyond the particular history of early modern England, contributing to a broader understanding of religious revivals, fundamentalisms, and the persistent link between religion, nationalism, and ethnic identity in the modern world.
How did the Reformation, which initially promoted decidedly illiberal positions, end up laying the groundwork for Western liberalism?
The English Reformation began as an evangelical movement driven by an unyielding belief in predestination, intolerance, stringent literalism, political quietism, and destructive iconoclasm. Yet by 1688, this illiberal early modern upheaval would deliver the foundations of liberalism: free will, liberty of conscience, religious toleration, readerly freedom, constitutionalism, and aesthetic liberty. How did a movement with such illiberal beginnings lay the groundwork for the Enlightenment? James Simpson provocatively rewrites the history of liberalism and uncovers its unexpected debt to evangelical religion.
Sixteenth-century Protestantism ushered in a culture of permanent revolution, ceaselessly repudiating its own prior forms. Its rejection of tradition was divisive, violent, and unsustainable. The proto-liberalism of the later seventeenth century emerged as a cultural package designed to stabilize the social chaos brought about by this evangelical revolution. A brilliant assault on many of our deepest assumptions, Permanent Revolution argues that far from being driven by a new strain of secular philosophy, the British Enlightenment is a story of transformation and reversal of the Protestant tradition from within. The gains of liberalism were the unintended results of the violent early Reformation.
Today those gains are increasingly under threat, in part because liberals do not understand their own history. They fail to grasp that liberalism is less the secular opponent of religious fundamentalism than its dissident younger sibling, uncertain how to confront its older evangelical competitor.
The theater of early modern England was a disastrous affair. The scant record of its performance demonstrates as much, for what we tend to remember today of the Shakespearean stage and its history are landmark moments of dissolution: the burning down of the Globe, the forced closure of playhouses during outbreaks of the plague, and the abolition of the theater by its Cromwellian opponents.
Persecution, Plague, and Fire is a study of these catastrophes and the theory of performance they convey. Ellen MacKay argues that the various disasters that afflicted the English theater during its golden age were no accident but the promised end of a practice built on disappearance and erasure—a kind of fatal performance that left nothing behind but its self-effacing poetics. Bringing together dramatic theory, performance studies, and theatrical, religious, and cultural history, MacKay reveals the period’s radical take on the history and the future of the stage to show just how critical the relation was between early modern English theater and its public.
Because of their spectacular, naturalistic pictures of plants and the human body, Leonhart Fuchs’s De historia stirpium and Andreas Vesalius’s De humani corporis fabrica are landmark publications in the history of the printed book. But as Picturing the Book of Nature makes clear, they do more than bear witness to the development of book publishing during the Renaissance and to the prominence attained by the fields of medical botany and anatomy in European medicine. Sachiko Kusukawa examines these texts, as well as Conrad Gessner’s unpublished Historia plantarum, and demonstrates how their illustrations were integral to the emergence of a new type of argument during this period—a visual argument for the scientific study of nature.
How an early modern understanding of place and movement are embedded in a performative theory of literature
How is a garden like a poem? Early modern writers frequently compared the two, and as Jim Ellis shows, the metaphor gained strength with the arrival of a spectacular new art form—the Renaissance pleasure garden—which immersed visitors in a political allegory to be read by their bodies’ movements. The Poem, the Garden, and the World traces the Renaissance-era relationship of place and movement from garden to poetry to a confluence of both. Starting with the Earl of Leicester’s pleasure garden for Queen Elizabeth’s 1575 progress visit, Ellis explores the political function of the entertainment landscape that plunged visitors into a fully realized golden world—a mythical new form to represent the nation. Next, he turns to one of that garden’s visitors: Philip Sidney, who would later contend that literature’s golden worlds work to move us as we move through them, reorienting readers toward a belief in English empire. This idea would later be illustrated by Edmund Spenser’s Faerie Queen; as with the pleasure garden, both characters and readers are refashioned as they traverse the poem’s dreamlike space. Exploring the artistic creations of three of the era’s major figures, Ellis argues for a performative understanding of literature, in which readers are transformed as they navigate poetic worlds.
Defining the proper female body, seeking elective surgery for beauty, enjoying lavish spa treatments, and combating impotence might seem like today’s celebrity infatuations. However, these preoccupations were very much alive in the early modern period. Valeria Finucci recounts the story of a well-known patron of arts and music in Renaissance Italy, Duke Vincenzo Gonzaga of Mantua (1562–1612), to examine the culture, fears, and captivations of his times. Using four notorious moments in Vincenzo’s life, Finucci explores changing concepts of sexuality, reproduction, beauty, and aging.
The first was Vincenzo’s inability to consummate his earliest marriage and subsequent medical inquiry, which elucidates new concepts of female anatomy. Second, Vincenzo’s interactions with Bolognese doctor Gaspare Tagliacozzi, the “father of plastic surgery,” illuminate contemporary fascinations with elective procedures. Vincenzo’s use of thermal spas explores the proliferation of holistic, noninvasive therapies to manage pain, detoxify, and rehabilitate what the medicine of the time could not address. And finally, Vincenzo’s search for a cure for impotence later in life analyzes masculinity and aging.
By examining letters, doctors’ advice, reports, receipts, and travelogues, together with (and against) medical, herbal, theological, even legal publications of the period, Finucci describes an early modern cultural history of the pathology of human reproduction, the physiology of aging, and the science of rejuvenation as they affected a prince with a large ego and an even larger purse. In doing so, she deftly marries salacious tales with historical analysis to tell a broader story of Italian Renaissance cultural adjustments and obsessions.
Lucien Febvre’s magisterial study of sixteenth century religious and intellectual history, published in 1942, is at long last available in English, in a translation that does it full justice. The book is a modern classic. Febvre, founder with Marc Bloch of the journal Annales, was one of France’s leading historians, a scholar whose field of expertise was the sixteenth century. This book, written late in his career, is regarded as his masterpiece. Despite the subtitle, it is not primarily a study of Rabelais; it is a study of the mental life, the mentalité, of a whole age.
Febvre worked on the book for ten years. His purpose at first was polemical: he set out to demolish the notion that Rabelais was a covert atheist, a freethinker ahead of his time. To expose the anachronism of that view, he proceeded to a close examination of the ideas, information, beliefs, and values of Rabelais and his contemporaries. He combed archives and local records, compendia of popular lore, the work of writers from Luther and Erasmus to Ronsard, the verses of obscure neo-Latin poets. Everything was grist for his mill: books about comets, medical texts, philological treatises, even music and architecture. The result is a work of extraordinary richness of texture, enlivened by a wealth of concrete details—a compelling intellectual portrait of the period by a historian of rare insight, great intelligence, and vast learning.
Febvre wrote with Gallic flair. His style is informal, often witty, at times combative, and colorful almost to a fault. His idiosyncrasies of syntax and vocabulary have defeated many who have tried to read, let alone translate, the French text. Beatrice Gottlieb has succeeded in rendering his prose accurately and readably, conveying a sense of Febvre’s strong, often argumentative personality as well as his brilliantly intuitive feeling for Renaissance France.
Even the most comprehensive Renaissance histories have neglected the vibrant groups of women writers that emerged in cities across Italy during the mid-1500s—and the thriving network of printers, publishers, and agents that specialized in producing and selling their books. In Publishing Women, Diana Robin finally brings to life this story of women’s cultural and intellectual leadership in early modern Italy, illuminating the factors behind—and the significance of—their sudden dominance.
Focusing on the collective publication process, Robin portrays communities in Naples, Venice, Rome, Siena, and Florence, where women engaged in activities that ranged from establishing literary salons to promoting religious reform. Her innovative cultural history considers the significant roles these women played in tandem with men, rather than separated from them. In doing so, it collapses the borders between women’s history, Renaissance and Reformation studies, and book history to evoke a historical moment that catapulted women’s writings and women-sponsored books into the public sphere for the first time anywhere in Europe.
The Pyramid under the Cross looks at the epic project of Christianization as well as the limits of the Spanish spiritual colonizers' power to accomplish it. The book focuses on activities of Franciscan missionaries who, as the first religious order to arrive, occupied the most important political and social centers in the Valley of Mexico and set the strategies of evangelization that others would follow. One such activity, the Nahua theater of evangelization, is represented as an exemplary case of the inevitable cultural negotiation involved in the missionary process. The author explores not only the imposition of a Eurocentric worldview upon the Nahua but also the hybridization of this view as the spiritual colonizer attempted to encompass a new non-Western constituency and the latter interpreted Christianity according to its own cultural paradigms.
The book treats a wide range of texts—the Historia eclesiástica indiana, the Confessionario Mayor, the Coloquios de los Doce, and more—both by renowned Franciscan figures such as Gerónimo de Mendieta, Alonso de Molina, Bernardino de Sahagún, and by Nahua grammarians Antonio Valeriano de Azcapotzalco, Andrés Leonardo de Tlatelolco, and others. Díaz Balsera engages the cultural constraints of all the actors in the episodes she relates in order to show how the exchange between them resulted in the appropriation and/or alteration of the Spanish discourses of spiritual domination—sometimes even in their breakdown—and how it brought about the emergence of Nahua Christian subjects that would never fully leave behind their ancient ways of relating to the gods.
The Pyramid under the Cross will be of interest to readers in the areas of Hispanic literatures, history, religion, anthropology, Latin American and cultural studies, and to those working in the field of colonial studies.
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