This intriguing book on Goya concentrates on the closing years of the eighteenth century as a neglected milestone in his life. Goya waited until 1799 to publish his celebrated series of drawings, the Caprichos, which offered a personal vision of the "world turned upside down". Victor I. Stoichita and Anna Maria Coderch consider how themes of Revolution and Carnival (both seen as inversions of the established order) were obsessions in Spanish culture in this period, and make provocative connections between the close of the 1700s and the end of the Millennium. Particular emphasis is placed on the artist's links to the underground tradition of the grotesque, the ugly and the violent. Goya's drawings, considered as a personal and secret laboratory, are foregrounded in a study that also reinterprets his paintings and engravings in the cultural context of his time.

This book explores the influence of Stoicism on the evolution of Thomas More's mind, asserting that More's engagement with the work of Erasmus radicalized his understanding of Christianity and shaped the writing of Utopia.

Arts of Perception offers a new account of a key period in Spanish history and culture and a fundamental reassessment of its major writers and intellectuals, including Gracián, Quevedo, Calderón, Saavedra Fajardo, López de Vega, and Sor Juana. Reading these figures in the context of European thought and the new science, and philosophy, the study considers how they developed various ‘arts of perception’ - complex perceptual strategies designed to overcome and exploit epistemic problems to enable an individual to act effectively in the moral, political, social or religious sphere. The study takes as its subject the distinctive epistemological mentality behind such ‘arts of perception’. This mentality was fostered by the creative interaction of scepticism and Stoicism, and found expression in the key concepts ser/parecer and engaño/desengaño. The work traces the emergence, development, and impact of these concepts on Spanish thought and culture. As well as offering new interpretations of specific major figures, Arts of Perception offers an interpretation of the mentality of an entire culture as it made the fraught transition to intellectual modernity. As such it ranges over numerous discourses and formative contexts and provides a wealth of new material which will be of use to all those seeking to understand and interpret the literature, culture and thought of Golden Age Spain. This book was previously published as a special issue of The Bulletin of Spanish Studies.

This volume explores perceptions of the "Jewish body" in variety of early modern Jewish sources. It discusses, among other topics, ideas of the ideal body in normative sources, the influence of Kabbalistic ideas on Jewish-Christian discourse and the link between melancholy and exile.

Twelve contributors offer new perspectives on the efficacy of the handpress book industry to support the Catholic strategy of the Spanish Low Countries.

The Western tradition has long held the view that while it is possible to know that God exists, it nevertheless remains impossible to know what God is. The ineffability of the monotheistic God extends to each of the Abrahamic faiths. In this volume, Tubbs considers Aristotle’s logic of mastery and questions the assumptions upon which God’s ineffability rests. Part I explores the tensions between the philosophical definition of the One as "thought thinking itself" (the Aristotelian concept of noesis noeseos) and the educational vocation of the individual as "know thyself" (gnothi seuton). Identifying vulnerabilities in the logic of mastery, Tubbs puts forth an original logic of education, which he calls modern metaphysics, or a logic of learning and education. Part II explores this new educational logic of the divine as a "logic of tears," as a "dreadful religious teacher," and as a way to cohere the three Abrahamic faiths in an educational concept of monotheism.