Hussein Fancy is a Professor of History at Yale University where he teaches medieval history with a particular focus on medieval Spain and North Africa. His research, writing, and teaching focus on the entwined histories of not only Jews, Christians, and Muslims but also Latin and Arabic in the Middle Ages. He has traveled and lived extensively in Europe, North Africa, and the Middle East.
If thereâs only one that I could recommend, itâs this brilliant, beautiful, and vexing book by MarĂa Rosa Menocal, Sterling Professor at Yale University. In a compelling and artful manner, Menocal tells the story of medieval Spain from the arrival of the first Umayyad rulers to Cervantes. Beyond being a useful introduction to the fascinating history, Menocal makes the argument that a culture of tolerance existed in medieval Spain, one that transcended religious and ethnic differences. The principal engine of this culture, she suggests, was the Arabic language. Menocalâs book has received as much praise as criticism, a testament to its enduring power and the contentious quality of medieval Spain.
A rich and thriving culture where literature, science and religious tolerance flourished for 700 years is the subject of this enthralling history of medieval Spain.
Living side by side in the Andalusian kingdoms, the 'peoples of the book' produced statesmen, poets and philosophers who influenced the rest of Europe in dramatic ways, giving it the first translations of Plato and Aristotle, love songs and secular poetry plus remarkable feats of architecture and technology. This evocative account explores the lost history whose legacy and lessons have a powerful resonance in today's world.
I am professor of medieval history at the University of St Andrews in Scotland. As a PhD student, I was electrified by the historian E. P. Thompsonâs call to rescue the masses âfrom the enormous condescension of posterityâ, but itâs often only when peasants revolt, as they did outside Paris in 1358, that we get much evidence about the masses in the Middle Ages. I loved writing The Jacquerie of 1358 because it allowed me to get very close to the men (and a few women) who risked everything to make their society a more just and equal one. It was a privilege, and a pleasure, to tell their story.
Tormented Voices often brings me close to tears. Although based on records from 800 years ago, it feels very immediate in its account of the lordly oppression that often blighted peasantsâ lives.
The records detail villagersâ complaints against knights who had violently forced them to hand over grain, money, or animals. The villagers say that heads were broken, a womanâs nose cut off, houses made uninhabitable, and so on. The villagers employed scribes to write out these complaints to send to their Count-King in Barcelona, but we donât know if he even replied, let alone if anything was ever done.
By restoring the peasantsâ voices, the book does what it can to right the wrongs done to them so long ago.
Mute in life as in death, peasants of remote history rarely speak to us in their own voices. But Thomas Bisson's engagement with the records of several hundred twelfth-century people of rural Catalonia enables us to hear these voices. The peasants' allegations of abuse while in the service of their common lord the Count of Barcelona and his son the King reveal a unique perspective on the meaning of power both by those who felt and feared it, and by those who wielded it. These records-original parchments, dating much earlier than other comparable records of European peasant life-name peasants inâŠ
Born and raised in New Zealand, about as far from the Roman world as one can get, I got hooked on history as a child and began university life as an ancient and medieval double major, studying everything from the classical Greeks and Romans to Charlemagne and the Crusades. By the time I came to Oxford to write my PhD, I decided that my greatest interest lay in the dramatic transformation which saw classical antiquity evolve into medieval Christendom. I've been fortunate enough to write and teach about many different aspects of that transformation and I'm currently Associate Professor in Ancient and Late Antique History at Royal Holloway, in the University of London.
The Visigothic kingdom of Spain was long dismissed in older books as a barbaric backwater, the darkest point of the so-called Dark Ages. Yet it was, in truth, a vibrant cultural centre for more than two centuries, until falling to the forces of Islam in 711. Hillgarthâs fascinating book gives an excellent short survey of Visigothic history, and then explores how the legends surrounding the Goths were developed and exploited by later Spanish generations, from the Christian Reconquista and the sixteenth-century Golden Age to modern times. This creation of an idealized Gothic past provided inspiration and a sense of identity in Spain, in sharp contrast to Italy where the Goths were depicted during the Renaissance as the savage destroyers of classical civilization.
This book explores one of the central myths of Spain: the idea that Spanish culture arose from that of the Visigoths. It begins with a sketch of Visigothic history, then proceeds to explore attitudes towards the Goths and legends and myths that developed around them from late antiquity to the twentieth century; such ideas proved influential among those who saw the Goths as their spiritual, if not literal, ancestors. The focus is on the myth of the Goths as expressed in literature of a broadly historical nature; many authors have played a significant role in forming and shaping this myth,âŠ
Hussein Fancy is a Professor of History at Yale University where he teaches medieval history with a particular focus on medieval Spain and North Africa. His research, writing, and teaching focus on the entwined histories of not only Jews, Christians, and Muslims but also Latin and Arabic in the Middle Ages. He has traveled and lived extensively in Europe, North Africa, and the Middle East.
I have used this collection of translated primary sources for over a decade to teach students. It covers the whole period of medieval Spain, from the arrival of Muslim conquerors in 711 to the expulsion of the Jews in 1492, and allows one to confront for themselves the paradoxes of coexistence, collaboration, and violence that characterized this place and period. A thoughtful introduction precedes each document.
For some historians, medieval Iberian society was one marked by peaceful coexistence and cross-cultural fertilization; others have sketched a harsher picture of Muslims and Christians engaged in an ongoing contest for political, religious, and economic advantage culminating in the fall of Muslim Granada and the expulsion of the Jews in the late fifteenth century. The reality that emerges in Medieval Iberia is more nuanced than either of these scenarios can comprehend. Now in an expanded, second edition, this monumental collection offers unparalleled access to the multicultural complexity of the lands that would become modern Portugal and Spain.
The documents collectedâŠ
I am an avid Hispanist and have for a long time been fascinated by the mix of cultures in medieval Spain. Soon after 9-11, I was forced to take part in a barefoot ritual of security checks on arriving at Zaragoza airport to see something of the Moorish heritage there, and it hit me how important the way we tell the story of âMoors and Christiansâ is to our own times. My own experience as a linguist and of living abroad made me particularly interested in people who are able to see both sides of a story and transfer between cultures. This is what I researched further in my Ph.D. in relation to the demise of Muslim Granada.
This is a book that made me think again about the âMoorishnessâ of Spain.
How to square the repression and ultimate expulsion of people of Muslim origin in the early sixteen hundreds with the obvious delight taken in aspects of their material culture such as architecture, fashion, and horsemanship, not to mention the sympathetic portrayal of Moorish characters in sixteenth-century Spanish literature?
Itâs a well-argued book full of fascinating examples which examine and enlighten this paradox.
In the Western imagination, Spain often evokes the colorful culture of al-Andalus, the Iberian region once ruled by Muslims. Tourist brochures inviting visitors to sunny and romantic Andalusia, home of the ingenious gardens and intricate arabesques of Granada's Alhambra Palace, are not the first texts to trade on Spain's relationship to its Moorish past. Despite the fall of Granada to the Catholic Monarchs in 1492 and the subsequent repression of Islam in Spain, Moorish civilization continued to influence both the reality and the perception of the Christian nation that emerged in place of al-Andalus.
I am a writer who lived in the city of Granada for almost four years, in the uncanny barrio of the Albayzin. The daily blessings of life there are powerful and cumulative, and I wrote a book in honor of such luminosity; and I wrote it, as well, because most of us have been lied to about Spanish history. But the truth, like the poetry of Garcia Lorca, cannot be suppressed. In my sojourn in Spain, and in my visits over the years, I have found Granada to be a treasure-house of stories and poetry; and in flamenco singing, the home of one of the most powerful art-forms of music in the world.
These three women give us Al-Andalus in depth. They are scholars of prodigious learning. This book shows their gift for clear explanation and offers a rich selection of color illustrations that are not collected so cogently together in any other books about the period. It is a major achievement and a joy to read; indispensable for anyone who wants to understand the history of Spain.
A dynamic vision of medieval Castilian culture and the Arabic, Hebrew, and Latin strands that are woven into its fabric
Named a Book of the Year by the Times Literary Supplement, this lavishly illustrated work explores the vibrant interaction among different and sometimes opposing cultures, and how their contacts with one another transformed them all. It chronicles the tumultuous history of Castile in the wake of the Christian capture of the Islamic city of Tulaytula, now Toledo, in the eleventh century and traces the development of Castilian culture as it was forged in the new intimacy of Christians with theâŠ
Iâm an archaeologist at Boston University with a transatlantic family that spans Spain and Latin America. My research has primarily focused on Mesoamerica, and prehispanic central Mexico more specifically, but the deep roots of these transatlantic entanglements have always fascinated me personally and as a historically minded scholar.
The great Mexican author Carlos Fuentes wrote this book as a commemorative reflection of an earlier quincentennial, that of 1492-1992. Fuentesâ book is transatlantic in scope and considers the fraught history of Hispanic heritage in the Americas. The title metaphorically employs the mirrorâboth of the kind fashioned from obsidian by the Aztecs and the one bringing the viewer into Diego VelĂĄzquezâs masterpiece of Spanish golden-age painting, Las Meninasâin reflecting on this mixed inheritance five centuries later. Cultural mixing, or mestizaje, defines the creation of Latin America and its millennial-deep roots in the exchange networks, migrations, political alliances, and colonialism on the part of Mesoamerican and Iberian peoples, on both sides of the Atlantic. Fuentes is a gifted writer and Buried Mirror is what first got me thinking about these historical entanglements when I read it as a college student.
A best-selling and lavishly illustrated history of Hispanic culture from the "Balzac of Mexico," The Buried Mirror is a classic in its field.
The renowned novelist Carlos Fuentes has crafted a unique history of the social, political, and economic forces that created the remarkable culture which stretches from the mysterious cave drawings at Altamira to the explosive graffiti on the walls of East Los Angeles.
âA bittersweet celebration of the hybrid culture of Spain in the New WorldâŠDrawing expertly on five centuries of the cultural history of Europe and the Americas, Fuentes seeks to capture the spirit of the new,âŠ
