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.