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Like our own, early modern beliefs about race depended on metaphorical, selective, and contradictory understandings of how membership in groups is determined. Although race took distinctive forms in the past, the fallacies that underlie early modern racial experience generally are precisely-and surprisingly-the same as those in contemporary culture.

Exploring the similar underpinnings of early modern and contemporary ideas of difference, Barbarous Play examines English Renaissance understandings of race as depicted in drama. Reading plays by Shakespeare, Marlowe, Webster, and Middleton, Bovilsky offers case studies of how racial meanings are generated by narratives of boundary crossing-especially miscegenation, religious conversion, class transgression, and moral and physical degeneracy. In the process, she reveals deep parallels between the period’s conceptions of race and gender.

Barbarous Play contests the widely held view that race and racism depend on modern science for their existence and argues that understanding just what is false and figurative in past depictions of race, such as those found in Othello, The Merchant of Venice, The White Devil, and The Changeling, can clarify the illogic of present-day racism.

Lara Bovilsky is assistant professor of English at Washington University in St. Louis.

The Baroque, which stretched from the end of the sixteenth to the second half of the seventeenth century, is one of the most enigmatic eras in history. In this book, thirteen distinguished scholars develop a portrait of institutions, ideologies, intellectual themes, and social structures as they are reflected in Baroque personae, or characteristic social roles.

Studying the statesman, soldier, financier, secretary, rebel, preacher, missionary, nun, witch, scientist, artist, and bourgeois, the essays depart dramatically from traditional accounts of this era. The statesman, for example, is seen here as the exact opposite of a benevolent man working for the common good; and the soldier is depicted as part of an institution that could be savage and destructive but that also, by the end of the Baroque age, helped shape a more rational relationship with the military and civil society.

The contributors are Rosario Villari, Henry Kamen, Geoffrey Parker, Daniel Dessert, Salvatore S. Nigro, Manuel Morán, José Andrés-Gallego, Adriano Prosperi, Mario Rosa, Brian P. Levack, Paolo Rossi, Giovanni Careri, and James S. Amelang.

In Becoming a New Self, Moshe Sluhovsky examines the diffusion of spiritual practices among lay Catholics in early modern Europe. By offering a close examination of early modern Catholic penitential and meditative techniques, Sluhovsky makes the case that these practices promoted the idea of achieving a new self through the knowing of oneself.

Practices such as the examination of conscience, general confession, and spiritual exercises, which until the 1400s had been restricted to monastic elites, breached the walls of monasteries in the period that followed. Thanks in large part to Franciscans and Jesuits, lay urban elites—both men and women—gained access to spiritual practices whose goal was to enhance belief and create new selves. Using Michel Foucault’s writing on the hermeneutics of the self, and the French philosopher’s intuition that the early modern period was a moment of transition in the configurations of the self, Sluhovsky offers a broad panorama of spiritual and devotional techniques of self-formation and subjectivation.

We have grown accustomed to the idea that scientific theories are embedded in their place and time. But in the case of the development of mathematical physics in eighteenth-century France, the relationship was extremely close. In Before Voltaire, J.B. Shank shows that although the publication of Isaac Newton’s Principia in 1687 exerted strong influence, the development of calculus-based physics is better understood as an outcome that grew from French culture in general.
 
Before Voltaire explores how Newton’s ideas made their way not just through the realm of French science, but into the larger world of society and culture of which Principia was an intertwined part. Shank also details a history of the beginnings of calculus-based mathematical physics that integrates it into the larger intellectual currents in France at the time, including the Battle of the Ancients and the Moderns, the emergence of wider audiences for science, and the role of the newly reorganized Royal Academy of Sciences. The resulting book offers an unprecedented cultural history of one the most important and influential elements of Enlightenment science.
 

Between Copernicus and Galileo is the story of Christoph Clavius, the Jesuit astronomer and teacher whose work helped set the standards by which Galileo's famous claims appeared so radical, and whose teachings guided the intellectual and scientific agenda of the Church in the central years of the Scientific Revolution.

Though relatively unknown today, Clavius was enormously influential throughout Europe in the late sixteenth and early seventeenth centuries through his astronomy books—the standard texts used in many colleges and universities, and the tools with which Descartes, Gassendi, and Mersenne, among many others, learned their astronomy. James Lattis uses Clavius's own publications as well as archival materials to trace the central role Clavius played in integrating traditional Ptolemaic astronomy and Aristotelian natural philosophy into an orthodox cosmology. Although Clavius strongly resisted the new cosmologies of Copernicus and Tycho, Galileo's invention of the telescope ultimately eroded the Ptolemaic world view.
By tracing Clavius's views from medieval cosmology the seventeenth century, Lattis illuminates the conceptual shift from Ptolemaic to Copernican astronomy and the social, intellectual, and theological impact of the Scientific Revolution.

Although largely unknown today, during his lifetime Mutio Oddi of Urbino (1569–1639) was a highly esteemed scholar, teacher, and practitioner of a wide range of disciplines related to mathematics. A prime example of the artisan-scholar so prevalent in the late Renaissance, Oddi was also accomplished in the fields of civil and military architecture and the design and retail of mathematical instruments, as well as writing and publishing. 

In Between Raphael and Galileo, Alexander Marr resurrects the career and achievements of Oddi in order to examine the ways in which mathematics, material culture, and the book shaped knowledge, society, and the visual arts in late Renaissance Italy. Marr scrutinizes the extensive archive of Oddi papers, documenting Oddi’s collaboration with prominent intellectuals and officials and shedding new light on the practice of science and art during his day. What becomes clear is that Oddi, precisely because he was not spectacularly innovative and did not attain the status of a hero in modern science, is characteristic of the majority of scientific practitioners and educators active in this formative age, particularly those whose energetic popularization of mathematics laid the foundations for the Scientific Revolution. Marr also demonstrates that scientific change in this era was multivalent and contested, governed as much by friendship as by principle and determined as much by places as by purpose.

Plunging the reader into Oddi’s world, Between Raphael and Galileo is a finely wrought and meticulously researched tale of science, art, commerce, and society in the late sixteenth and early seventeenth century. It will become required reading for any scholar interested in the history of science, visual art, and print culture of the Early Modern period.

This is a book about two things: medical instability and Renaissance drama. Medical stories are always also social stories, and William Kerwin presents five case studies of how the fragile and dynamic relationship between the medical and the nonmedical played out in Renaissance England. Renaissance drama richly staged that process, presenting medical practitioners in ways that undermined any attempt to imagine them as self-defining. Playwrights consistently unmasked fictions of medical autonomy, emphasizing that a variety of social narratives competed in the shaping of the medical culture.

Drawing on research in the social history of medicine as well as a wide-ranging collection of primary narratives of medical encounters, Kerwin pursues the stories of several medical groups. Specifically, he examines women healers in terms of the changing place of women in the public sphere; the connections between drug sellers—apothecaries and alchemists—and an emerging modern economy; the role barbers and surgeons played in early modern concerns for protecting a new sense of privacy and interiority; the ways physicians defined their professional primacy through the language of theaters and actors; and the ways individual patients employed rhetorics of diagnosis as a way of participating in sectarian religious battles. The study moves from the dynamics of medical politics to the work drama does in exposing those dynamics. In addition to offering astute readings of works by Shakespeare and Ben Jonson, the book pays substantial attention to plays by Samuel Daniel, John Fletcher, John Ford, Thomas Heywood, John Lyly, Philip Massinger, and John Webster.

Beyond the Body complements the wealth of recent critical attention given to the body. Kerwin attends to a different sort of material politics; as the book's title suggests, he asks a reader interested in the politics of medicine to look not at the practitioner treating the body but at the social forces influencing the practitioner. Beyond the Body works to erode a widespread cultural bias toward giving medicine deference as a self-defining profession.

How cultural categories shaped--and were shaped by--new ideas about controlling nature Ranging from alchemy to necromancy, "books of secrets" offered medieval readers an affordable and accessible collection of knowledge about the natural world. Allison Kavey's study traces the cultural relevance of these books and also charts their influence on the people who read them. Citing the importance of printers in choosing the books' contents, she points out how these books legitimized manipulating nature, thereby expanding cultural categories, such as masculinity, femininity, gentleman, lady, and midwife, to include the willful command of the natural world.

We usually see the Renaissance as a marked departure from older traditions, but Renaissance scholars often continued to cling to the teachings of the past. For instance, despite the evidence of their own dissections, which contradicted ancient and medieval texts, Renaissance anatomists continued to teach those outdated views for nearly two centuries.

In Books of the Body, Andrea Carlino explores the nature and causes of this intellectual inertia. On the one hand, anatomical practice was constrained by a reverence for classical texts and the belief that the study of anatomy was more properly part of natural philosophy than of medicine. On the other hand, cultural resistance to dissection and dismemberment of the human body, as well as moral and social norms that governed access to cadavers and the ritual of their public display in the anatomy theater, also delayed anatomy's development.

A fascinating history of both Renaissance anatomists and the bodies they dissected, this book will interest anyone studying Renaissance science, medicine, art, religion, and society.

Botticelli gave us some of the most stunning Renaissance masterpieces. Paintings like Primavera and The Birth of Venus are as beloved today as at the time of their creation, as evidenced by recent exhibitions around the world. Botticelli’s influence and innovations also continue to inspire interest and passionate debate among art historians and lovers of art.

In four chapters, spanning centuries of Botticelli’s artistic fame and reception, Botticelli Past and Present engages with the significant debates about Botticelli. Each chapter collects several essays and includes a short introduction that positions them within the wider scholarly literature on Botticelli. The chapters are organized chronologically, beginning with discussion of the artist and his work in his own time, moving on to the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design.
 

In a rich and engaging book that illuminates the lives and attitudes of peasants in preindustrial Europe, Piero Camporesi makes the unexpected and fascinating claim that these people lived in a state of almost permanent hallucination, drugged by their very hunger or by bread adulterated with hallucinogenic herbs. The use of opiate products, administered even to infants and children, was widespread and was linked to a popular mythology in which herbalists and exorcists were important cultural figures. Through a careful reconstruction of the everyday lives of peasants, beggars, and the poor, Camporesi presents a vivid and disconcerting image of early modern Europe as a vast laboratory of dreams.

"Camporesi is as much a poet as a historian. . . . His appeal is to the senses as well as to the mind. . . . Fascinating in its details and compelling in its overall message."—Vivian Nutton, Times Literary Supplement

"It is not often that an academic monograph in history is also a book to fascinate the discriminating general reader. Bread of Dreams is just that."—Kenneth McNaught, Toronto Star

"Not religion but bread was the opiate of the poor, Mr. Camporesi argues. . . . Food has always been a social and mythological construct that conditions what we vainly imagine to be matters of personal taste. Our hunger for such works should tell us that food is not only good but essential to think and to read as if our lives depended on it, which they do."—Betty Fussell, New York Times Book Review