In Moors Dressed as Moors, Javier Irigoyen-Garcia draws on a wide range of sources to reveal the currency of Moorish clothing in early modern Iberian society.

For hundreds of years, skilled craftsmen in the Syrian centers of Aleppo, Damascus, and Homs produced intricately woven textiles for many levels of society. City dwellers were renowned for wearing brightly colored silk garments that glittered with gold and silver metallic threads. By contrast, nomadic Bedouins wore woolen garments in hues and designs reflecting their desert lifestyle. The allure of these garments stems from the technical virtuosity with which they were woven and the aesthetic beauty of their drape and stylized designs. "Dressed with Distinction: Garments from Ottoman Syria" explores the region's textile production during the late-19th and early 20th centuries, when Syria was an international hub for the trade and production of handwoven cloth. With a focus on the social and seasonal contexts in which garments were worn by men, women, and children, the exhibition's presentation of these distinguished textiles enables audiences to engage with Syrian culture and weaving techniques from a bygone era. This book accompanies an exhibition of the same name, organized by the Fowler Museum at UCLA.

The Old Wives’ Tale, considered to be one of Bennett’s finest works, begins in the 1860s, in the industrial “Five Towns” of the English Midlands, where he set many of his partially-autobiographical stories. The novel follows the prosperous Baines family, who live above the successful clothing shop they own in the town of Bursley (based on Burslem, in Staffordshire). Even when the two Baines daughters were still young, their characters are already formed. Sophia has “youth, beauty, and rank in her favour,” while Constance is “foolishly good-natured,” with benevolence that is “eternally rising up and overpowering her reason.” Their paths diverge quickly. While still in her teens, the headstrong Sophia elopes with a traveling salesman, leaving England’s provinces for Paris. Constance, who later marries the head employee at the store, hardly ever leaves their town—or even the square where their shop is located. As the novelist J. B. Priestley observed, this gently ironic and sprawling novel sets its “two suffering heroines” against “three conquering heroes, Time, Mutability, and Death.”

Renaissance Europe was the scene of flourishing and innovative dramatic art, and seventeenth-century Spain enjoyed its own Golden Age of the stage. According to traditional studies of this period, however, men seemed to be the only participants. Now in Dramas of Distinction, Teresa Scott Soufas offers the first book-length critical study of five important women playwrights: Angela de Azevedo, Ana Caro Mallen de Soto, Leonor de la Cueva y Silva, Feliciana Enriquez de Guzman, and Marfa de Zayas y Sotomayor. By locating the plays within their period, Soufas avoids universalizing women without regard to history. Her approach transcends the simple measurement of women authors against male models. Confronting the issue of female silence demanded by seventeenth-century Spanish patriarchy, Soufas compares the drive to limit and contain theater space to Renaissance society's efforts to limit and contain women. Yet these dramatists still found ways to question their own roles and male authority. Caro and Cueva investigate the difficult relationship between women and monarchy. Azevedo explores the ways Renaissance women become commodities in the marriage market. Cross-dressed women characters add carnivalesque implications to three plays in which gender identities are unstable. Finally, Enrfquez challenges the precepts of Lope de Vega's comedia nueva as she attempts to adhere to classical formal principles and reject the public playhouse. As a companion to the recently published anthology Women's Acts, also edited by Soufas, this study significantly contributes not only to Hispanic studies but also to women's studies, Renaissance studies, and comparative literature.