This study of Castilian widows, based on extensive analysis of literary and archival sources, provides insight into the complex mechanisms lying behind the formulation of gender boundaries and the pragmatic politics of everyday life in the early modern world.

This new collection of essays brings together brand new research on widowhood in medieval and early modern Europe. The volume opens with an introductory chapter by the Editors which looks generally at the conditions and constructions of widowhood in this period. This is followed by a range of essays which illuminate different dimensions of widowhood across Europe - in England, Italy, France, Germany and Spain. A particular attraction of the volume is the attention given to widowers, and the comparisons made between the male and female experience of widowhood. It is an exciting reinterpretation of the subject which will do much to undo the traditional stereotype of the widow. Contributing to the volume are: Jodi Bilinkoff, Giulia Calvi, Sandra Cavallo, Isabelle Chabot, Julia Crick, Amy Erikson, Dagmar Freist, Elizabeth Foyster, Margaret Pelling, Pamela Sharpe,Tim Stretton, Barbara Todd, and Lyndan Warner.

Whereas recent studies of early modern widowhood by social, economic and cultural historians have called attention to the often ambiguous, yet also often empowering, experience and position of widows within society, Widowhood and Visual Culture in Early Modern Europe is the first book to consider the distinct and important relationship between ritual and representation. The fifteen new interdisciplinary essays assembled here read widowhood as a catalyst for the production of a significant body of visual material-representations of, for and by widows, whether through traditional media, such as painting, sculpture and architecture, or through the so-called 'minor arts,' including popular print culture, medals, religious and secular furnishings and ornament, costume and gift objects, in early modern Austria, England, France, Germany, Italy and Spain. Arranged thematically, this unique collection allows the reader to recognize and appreciate the complexity and contradiction, iconicity and mutability, and timelessness and timeliness of widowhood and representation.

In the first in-depth study of the interconnected relationships among public theatre, custodial institutions, and women in early modern Spain, Margaret E. Boyle explores the contradictory practices of rehabilitation enacted by women both on and off stage. Pairing historical narratives and archival records with canonical and non-canonical theatrical representations of women’s deviance and rehabilitation, Unruly Women argues that women’s performances of penitence and punishment should be considered a significant factor in early modern Spanish life. Boyle considers both real-life sites of rehabilitation for women in seventeenth-century Madrid, including a jail and a magdalen house, and women onstage, where she identifies three distinct representations of female deviance: the widow, the vixen, and the murderess. Unruly Women explores these archetypal figures in order to demonstrate the ways a variety of playwrights comment on women’s non-normative relationships to the topics of marriage, sex, and violence.

Drawing on history, literature, and art to explore childhood in early modern Spain, the contributors to this collection argue that early modern Spaniards conceptualized childhood as a distinct and discrete stage in life which necessitated special care and concern. The volume contrasts the didactic use of art and literature with historical accounts of actual children, and analyzes children in a wide range of contexts including the royal court, the noble family, and orphanages. The volume explores several interrelated questions that challenge both scholars of Spain and scholars specializing in childhood. How did early modern Spaniards perceive childhood? In what framework (literary, artistic) did they think about their children, and how did they visualize those children’s roles within the family and society? How do gender and literary genres intersect with this concept of childhood? How did ideas about childhood shape parenting, parents, and adult life in early modern Spain? How did theories about children and childhood interact with the actual experiences of children and their parents? The group of international scholars contributing to this book have developed a variety of creative, interdisciplinary approaches to uncover children’s lives, the role of children within the larger family, adult perceptions of childhood, images of children and childhood in art and literature, and the ways in which children and childhood were vulnerable and in need of protection. Studying children uncovers previously hidden aspects of Spanish history and allows the contributors to analyze the ideals and goals of Spanish culture, the inner dynamics of the Habsburg court, and the vulnerabilities and weaknesses that Spanish society fought to overcome.

Staging Marriage in Early Modern Spain examines selected dramatic works where the vicissitudes of matrimony play center stage. Various aspects of conjugal relations including courtship, divorce, and widowhood take on particular relevance in the Spanish comedia in light of the intense debates raging over the 'seventh sacrament' in early modern Europe. The institution of matrimony is subject to unprecedented scrutiny during this period and provides a rich source of material for playwrights such as Lope de Vega, Miguel de Cervantes, and Pedro Calderón de la Barca. Taking the decrees on marriage of the Council of Trent (1563) as a point of departure, Carrión examines the conjugal bond within a literary and historical framework, offering close readings of dramatic works, religious decrees, and moral treatises where the conjugal bond plays a central role. She identifies in works such as Lope's Peribáñez y el Comendador de Ocaña, Cervantes' El juez de los divorcios, and Calderón's El medico de su honra the emergence of more modern perspectives on marriage. One of the central questions this study raises is the degree to which the dramatic works of early modern Spain conform to the morality espoused by the treatises that defined marriage at the time. While the tone of prescriptive discourses contrasts with the lyrical voices of the Spanish stage, both reveal a number of inherent-and compelling-contradictions in their views of the conjugal bond.

Between Dignity and Despair draws on the extraordinary memoirs, diaries, interviews, and letters of Jewish women and men to give us the first intimate portrait of Jewish life in Nazi Germany. Kaplan tells the story of Jews in Germany not from the hindsight of the Holocaust, nor by focusing on the persecutors, but from the bewildered and ambiguous perspective of Jews trying to navigate their daily lives in a world that was becoming more and more insane. Answering the charge that Jews should have left earlier, Kaplan shows that far from seeming inevitable, the Holocaust was impossible to foresee precisely because Nazi repression occurred in irregular and unpredictable steps until the massive violence of Novemer 1938. Then the flow of emigration turned into a torrent, only to be stopped by the war. By that time Jews had been evicted from their homes, robbed of their possessions and their livelihoods, shunned by their former friends, persecuted by their neighbors, and driven into forced labor. For those trapped in Germany, mere survival became a nightmare of increasingly desperate options. Many took their own lives to retain at least some dignity in death; others went underground and endured the fears of nightly bombings and the even greater terror of being discovered by the Nazis. Most were murdered. All were pressed to the limit of human endurance and human loneliness. Focusing on the fate of families and particularly women's experience, Between Dignity and Despair takes us into the neighborhoods, into the kitchens, shops, and schools, to give us the shape and texture, the very feel of what it was like to be a Jew in Nazi Germany.