Humanism and Religion in Early Modern Spain brings together twenty-five essays by renowned historian Terence O’Reilly. The essays examine the interplay of religion and humanism in a series of writings composed in sixteenth-century Spain. It begins by presenting essential background: the coming together during the reign of the Emperor Charles V of Erasmian humanism and various movements of religious reform, some of them heterodox. It then moves on to the reign of Philip II, focusing on the mystical poetry and prose of St John of the Cross. It explores the influence on his writings of his humanist learning – classical, biblical and patristic. The third part of the book concerns a verse-epistle by John’s contemporary, Francisco de Aldana. One chapter presents the text with a parallel version in English, whilst two others trace its debt to Florentine Neoplatonism, particularly the thought of Marsilio Ficino. The final part is devoted to the humanism of the poet and Scripture scholar Luis de León, and specifically to the confluence in his work of biblical and classical motifs. This book is essential reading for scholars and students of early modern Spanish history, as well those interested in literary studies and the history of religion. (CS 1102).

In Religious Authority in the Spanish Renaissance, Lu Ann Homza rejects the traditional view of the Spanish Renaissance as a battle of strict opposites in favor of a more nuanced history. Through analyses of Inquisition trials, biblical translations, treatises on witchcraft, and tracts on the episcopate and penance, Homza illuminates the intellectual autonomy and energy of Spain's ecclesiastics, exploring the flexibility and inconsistency in their preferences for humanism or scholasticism, preferences which have long been thought to be steadfast.

Sarah H. Beckjord’s Territories of History explores the vigorous but largely unacknowledged spirit of reflection, debate, and experimentation present in foundational Spanish American writing. In historical works by writers such as Gonzalo Fernández de Oviedo, Bartolomé de Las Casas, and Bernal Díaz del Castillo, Beckjord argues, the authors were not only informed by the spirit of inquiry present in the humanist tradition but also drew heavily from their encounters with New World peoples. More specifically, their attempts to distinguish superstition and magic from science and religion in the New World significantly influenced the aforementioned chroniclers, who increasingly directed their insights away from the description of native peoples and toward a reflection on the nature of truth, rhetoric, and fiction in writing history. Due to a convergence of often contradictory information from a variety of sources—eyewitness accounts, historiography, imaginative literature, as well as broader philosophical and theological influences—categorizing historical texts from this period poses no easy task, but Beckjord sifts through the information in an effective, logical manner. At the heart of Beckjord’s study, though, is a fundamental philosophical problem: the slippery nature of truth—especially when dictated by stories. Territories of History engages both a body of emerging scholarship on early modern epistemology and empiricism and recent developments in narrative theory to illuminate the importance of these colonial authors’ critical insights. In highlighting the parallels between the sixteenth-century debates and poststructuralist approaches to the study of history, Beckjord uncovers an important legacy of the Hispanic intellectual tradition and updates the study of colonial historiography in view of recent discussions of narrative theory.

This book examines the effects of Jewish conversions to Christianity in late medieval Spanish society. Ingram focuses on these converts and their descendants (known as conversos) not as Judaizers, but as Christian humanists, mystics and evangelists, who attempt to create a new society based on quietist religious practice, merit, and toleration. His narrative takes the reader on a journey from the late fourteenth-century conversions and the first blood purity laws (designed to marginalize conversos), through the early sixteenth-century Erasmian and radical mystical movements, to a Counter-Reformation environment in which conversos become the advocates for pacifism and concordance. His account ends at the court of Philip IV, where growing intolerance towards Madrid’s converso courtiers is subtly attacked by Spain’s greatest painter, Diego Velázquez, in his work, Los Borrachos. Finally, Ingram examines the historiography of early modern Spain, in which he argues the converso reform phenomenon continues to be underexplored.

The setting of this volume is the Iberian Peninsula during the Middle Ages, where Christianity and Islam co-existed side by side as the official religions of Muslim al-Andalus on the one hand, and the Christian kingdoms in the north of the peninsula on the other. Its purpose is to examine the meaning of the word 'Mozarab' and the history and nature of the people called by that name; it represents a synthesis of the author's many years of research and publication in this field. Richard Hitchcock first sets out to explain what being a non-Muslim meant in al-Andalus, both in the higher echelons of society and at a humbler level. The terms used by Arab chroniclers, when examined carefully, suggest a lesser preoccupation with purely religious values than hitherto appreciated. Mozarabism in León and Toledo, two notably distinct phenomena, are then considered at length, and there are two chapters exploring the issues that arose, firstly when Mozarabs were relocated in twelfth-century Aragón, and secondly, in sixteenth-century Toledo, when they were striving to retain their identity.

"This book explores the representation of music in early modern Spanish literature and reveals how music was understood within the framework of the Harmony of the Spheres, emanating from cosmic harmony as directed by the creator. Music and Power in Early Modern Spain is a useful tool for upper-level undergraduates, postgraduates, and scholars interested in musicology, music history, Spanish literature, cultural studies, and transatlantic studies in the early modern period"--

This lavishly illustrated book provides a fresh and challenging new perspective on the life and Work of Dürer