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In 1401, Christine de Pizan (1365–1430?), one of the most renowned and prolific woman writers of the Middle Ages, wrote a letter to the provost of Lille criticizing the highly popular and widely read Romance of the Rose for its blatant and unwarranted misogynistic depictions of women. The debate that ensued, over not only the merits of the treatise but also of the place of women in society, started Europe on the long path to gender parity. Pizan’s criticism sparked a continent-wide discussion of issues that is still alive today in disputes about art and morality, especially the civic responsibility of a writer or artist for the works he or she produces.

In Debate of the “Romance of the Rose,” David Hult collects, along with the debate documents themselves, letters, sermons, and excerpts from other works of Pizan, including one from City of Ladies—her major defense of women and their rights—that give context to this debate. Here, Pizan’s supporters and detractors are heard alongside her own formidable, protofeminist voice.  The resulting volume affords a rare look at the way people read and thought about literature in the period immediately preceding the era of print.

Bolivia decentralized in an effort to deepen democracy, improve public services, and make government more accountable. Unlike many countries, Bolivia succeeded. Over the past generation, public investment shifted dramatically toward primary services and resource distribution became far more equitable, partly due to the creation of new local governments. Many municipalities responded to decentralization with transparent, accountable government, yet others suffered ineptitude, corruption, or both. Why? Jean-Paul Faguet combines broad econometric data with deep qualitative evidence to investigate the social underpinnings of governance. He shows how the interaction of civic groups and business interests determines the quality of local decision making.

In order to understand decentralization, Faguet argues, we must understand governance from the ground up. Drawing on his findings, he offers an evaluation of the potential benefits of decentralization and recommendations for structuring successful reform.

During the drafting of the Declaration of Independence in 1776, Thomas Jefferson and enslaved valet Robert Hemmings spent several months at 700 Market Street in Philadelphia. The editors and contributors to Declaration House reflect on the history of this site and illuminate the entangled legacy of freedom and enslavement at the core of our nation’s founding. They expand our history by revisiting and mapping this historic place in the city and nation, past and present, as a way to tend to our democracy today.

At the center of the book is artist Sonya Clark’s revelatory public artwork “The Descendants of Monticello,” a multichannel video installation created in collaboration with Hemmings’ collateral descendants and others who are related to the hundreds of people enslaved at Monticello. Interviews and essays about the project and the site consider history, memory, and the founding of our country. Like Clark’s project, Declaration House asks the timely question, "What does the Declaration of Independence mean to us today?"

Contributors: Niya Bates, Kerry Bickford, Paul Buchanan, Sonya Clark, Andrew M. Davenport, Kai Davis, Husnaa Haajarah Hashim, J. Calvin Jefferson Sr., Jabari Jefferson, Jane Kamensky, Matthew Kenyatta, Salamishah Tillet, Gayle Jessup White, Auriana Woods, and the editors

“Delightful.”—Times Literary Supplement • “Intriguing.”—The Sydney Morning Herald • “Fascinating, well-illustrated.”—Nature • “Altogether surprising and hard to categorise.”—London Review of Books • “There are many stories to be told here, and Bashford tells them well.”—Literary Review

The astonishing history of palmistry and biometrics—from occult physicians to the very foundations of modern science and medicine. 

Why did Isaac Newton read books on chiromancy, the occult science of hand reading that revealed the secrets of the soul? Why did Charles Darwin claim that the hand gave humans dominion over all other species? Why did psychoanalyst Charlotte Wolff climb into the primate cages of the London Zoo, taking hundreds of delicate palm prints? Why did Francis Galton, the father of fingerprinting, take palm prints too? And why did world-leading geneticists study the geometry of palm lines in their search for the secrets of chromosomal syndromes?

Decoding the Hand is an astounding history of magic, medicine, and science, of an enduring search for how our bodily surfaces might reveal an inner self—a soul, a character, an identity. From sixteenth-century occult physicians influenced by the Kabbalah to twentieth-century geneticists, and from criminologists to eugenicists, award-winning historian Alison Bashford takes us on a remarkable journey into the strange world of hand readers, revealing how signs on the hand—its shape, lines, marks, and patterns—have been elaborately decoded over the centuries. Sometimes learned, sometimes outrageously deceptive, sometimes earnest, and, more often than we ever expected, medically and scientifically trained, these palm readers of the past prove to be essential links in the human quest to peer into bodies, souls, minds, and selves. Not only for fortune-telling palmists were the future and the past, health, and character laid bare in the hand, but for other experts in bodies and minds as well: anatomists, psychiatrists, embryologists, primatologists, evolutionary biologists, geneticists, and more.

Drawing telling parallels between the divination promised by palmistry and the appeal to self-knowledge offered by modern genetic testing, Decoding the Hand also makes clear that palm-reading is far from a relic or simple charlatanism. Bashford’s sagacious history of human hands touching and connecting opens wide the essential human pursuit of what lies within and beyond.

Decolonial Topophilia: Nature, Place, and History in Puerto Rican Poetry examines how four major poets—Luis Lloréns Torres, Luis Palés Matos, Juan Antonio Corretjer, and Julia de Burgos—address the ecological and human consequences of colonial domination in early twentieth-century Puerto Rico. Their poetry raises questions about the capitalist transformation of land through monocultures like sugarcane, the reduction of nature to exploitable resources, and the ties between attachment to place and nationalism. In tracing these connections, this pathbreaking book reveals how poetic visions of place can challenge colonial histories and imagine more reciprocal ways of inhabiting the world.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Decolonizing German and European History at the Museum examines efforts by European museums to investigate colonialism as part of an unprocessed past, confront its presence, and urge repair. A flurry of exhibitions and the overhaul of numerous large museums in the last decade signal that an emergent colonial memory culture is now reaching broader publics. Exhibitions pose the question of what Europeans owe to those they colonized.

Decolonizing German and European History at the Museum shows how museums can help visitors mourn historic violence and identify the contemporary agents, beneficiaries, victims, survivors, and resisters of colonial presence. At the same time, the book treats the museum as part of the racialized power relations that activists, academics, and artists have long protested against. This book asks whether museums have made the dream of activists, academics, and artists to build equitable futures more acceptable and more durable—or whether in packaging that dream for general audiences they curtail it. Confronting colonial violence, this book argues, pushes Europeans to face the histories of racism and urges them to envision antiracism at the global scale.

Early Andean historiography reveals a subaltern history of indigenous gender and sexuality that saw masculinity and femininity not as essential absolutes. Third-gender ritualists, Ipas, mediated between the masculine and feminine spheres of culture in important ceremonies and were recorded in fragments of myths and transcribed oral accounts. Ritual performance by cross-dressed men symbolically created a third space of mediation that invoked the mythic androgyne of the pre-Hispanic Andes. The missionaries and civil authorities colonizing the Andes deemed these performances transgressive and sodomitical.

In this book, Michael J. Horswell examines alternative gender and sexuality in the colonial Andean world, and uses the concept of the third gender to reconsider some fundamental paradigms of Andean culture. By deconstructing what literary tropes of sexuality reveal about Andean pre-Hispanic and colonial indigenous culture, he provides an alternative history and interpretation of the much-maligned aboriginal subjects the Spanish often referred to as "sodomites." Horswell traces the origin of the dominant tropes of masculinist sexuality from canonical medieval texts to early modern Spanish secular and moralist literature produced in the context of material persecution of effeminates and sodomites in Spain. These values traveled to the Andes and were used as powerful rhetorical weapons in the struggle to justify the conquest of the Incas.

From the avant-garde design of the Islamic Cultural Center in New York City to the simplicity of the Dar al-Islam Mosque in Abiquiu, New Mexico, the American mosque takes many forms of visual and architectural expression. The absence of a single, authoritative model and the plurality of design nuances reflect the heterogeneity of the American Muslim community itself, which embodies a whole spectrum of ethnic origins, traditions, and religious practices.

In this book, Akel Ismail Kahera explores the history and theory of Muslim religious aesthetics in the United States since 1950. Using a notion of deconstruction based on the concepts of "jamal" (beauty), "subject," and "object" found in the writings of Ibn Arabi (d. 1240), he interprets the forms and meanings of several American mosques from across the country. His analysis contributes to three debates within the formulation of a Muslim aesthetics in North America—first, over the meaning, purpose, and function of visual religious expression; second, over the spatial and visual affinities between American and non-American mosques, including the Prophet's mosque at Madinah, Arabia; and third, over the relevance of culture, place, and identity to the making of contemporary religious expression in North America.