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Medical Humanities may be broadly conceptualized as a discipline
wherein medicine and its specialties intersect with those of the
humanities and social sciences. As such it is a hybrid area of
study where the impact of disease and healing science on culture is
assessed and expressed in the particular language of the
disciplines concerned with the human experience. However, as much
as at first sight this definition appears to be clear, it does not
reflect how the interaction of medicine with the humanities has
evolved to become a separate field of study. In this publication we
have explored, through the analysis of a group of selected
multidisciplinary essays, the dynamics of this process. The essays
predominantly address the interaction of literature, philosophy,
art, art history, ethics, and education with medicine and its
specialties from the classical period to the present. Particular
attention has been given to the Medieval, Early Modern, and
Enlightenment periods. To avoid a rigid compartmentalization of the
book based on individual fields of study we opted for a fluid
division into multidisciplinary sections, reflective of the complex
interactions of the included works with medicine.
'An exemplary critical edition of Ferrand's treatise of 1610 on
erotic melancholy, preceded by an introductory essay (of nine
chapters) in which they examine the place of erotic ideas in
Renaissance culture.....A compendium of 2,000 years of ideas about
love.' - The Times Literary Supplement
The cultural forms often referred to as ‘baroque’ are the most
spectacular expressions of early modern Europe’s effort to
mediate between knowledge and power at a time when political
authority was being centralized, the authority of religion
undermined by the division of Christianity, and science and poetry
were seen increasingly as rival forms of intellectual authority.
Culture and Authority in the Baroque explores the baroque across a
wide range of disciplines, from poetics to politics, to the rituals
of musical, dramatic, and religious performance.The essays in this
collection span what has been called the ‘baroque crescent’
stretching from Spain through Italy to Russia, but they also bring
Shakespeare and English cosmological poetry into productive
dialogue with continental Europe in the reinterpretation of baroque
world-views. The editors, Massimo Ciavolella and Patrick Coleman,
along with a group of eminent scholars from across the disciplinary
and geographic spectrum, investigate baroque modes of persuasion
with careful attention to the complexity of particular cultural
phenomena and their political and aesthetic implications. This
collection redefines the way the baroque will be understood.
Exploring the fascinating cross-cultural influences between Jews
and Christians in Italy from the Renaissance to the twentieth
century, Acculturation and Its Discontents assembles essays by
leading historians, literary scholars, and musicologists to present
a well-rounded history of Italian Jewry. The contributors offer
rich portraits of the many vibrant forms of cultural and artistic
expression that Italian Jews contributed to, but this volume also
pays close attention to the ways in which Italian Jews - both
freely and under pressure - creatively adapted to the social,
cultural, and legal norms of the surrounding society. Tracing both
the triumphs and tragedies of Jewish communities within Italy over
a broad span of time, Acculturation and Its Discontents challenges
conventional assumptions about assimilation and state intervention
and, in the process, charts the complex process of cultural
exchange that left such a distinctive imprint not only on Italian
Jewry, but also on Italian society itself. This collection of
rigorous and thought-provoking essays makes a major contribution to
both the history of Italian culture and the cultural influence and
significance of European Jews.
The editors have selected 33 of the 100 tales, including at least
two from each of the ten days of storytelling. Included as well are
Boccaccio's general introduction and conclusion to the work, as
well as the introduction and conclusion to the first day; the
reader is thus provided with a real sense of the Decameron's
framing narrative. In selecting from among the tales themselves,
the editors have looked to include the most interesting, the most
representative, and the most widely taught of the tales, as well as
a few (such as X.8, on the theme of perfect friendship) that are
less familiar but that the editors feel to be deserving of wider
circulation. The Beecher and Ciavolella translation conveys some
sense of the often extended structures of Boccaccio's sentences,
and a real sense as well of the different registers Boccaccio uses,
from the often formal tone of the framing narrative to the highly
colloquial feel of the dialogue in many of the more bawdy tales.
Throughout, the translators have chosen language that makes this
classic work accessible to twenty-first-century undergraduates. The
edition includes extensive explanatory notes and a concise but
wide-ranging introduction to Boccaccio's life and times, as well as
to the Decameron itself. A unique selection of contextual materials
concludes the volume; these include documentary accounts and
illustrations of the Black Death in Florence; examples of source
materials that Boccaccio drew on; examples from later medieval and
early modern literature (both in Italy and in England) of work that
was heavily influenced by the Decameron; documents (including
Petrarch's famous comments about the tale of Patient Griselda)
providing a sense of the early reception history of the work; and a
variety of illustrations from early manuscripts of the Decameron.
Like the versions provided of the Boccaccio tales themselves, the
texts in this selection of "In Context" materials have been newly
translated for this edition.
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