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Lumbre de fe is the most extensive and articulate text of polemic against Islam written during the 16th century in Spanish in the Iberian Peninsula. The work is the result of the preaching task carried out by Joan Martí de Figuerola for the conversion of the Mudejars of Zaragoza between 1517 and 1518, a task that brought Figuerola into numerous confrontations with both ecclesiastical and secular authorities in Aragon for disturbing the coexistence between the two confessions. Lumbre de fe also stands out for its use of qur’ānic texts in Arabic to attack Islam. These texts, also transliterated in Latin characters and translated into Spanish, are commented and discussed by Figuerola, making use of his vast theological erudition and his experience as a preacher in the crown of Aragon. The manuscript in which the work is preserved also contains numerous images representing Islamic beliefs and rites, which further reinforces the enormous originality and strength of the work.
This book addresses the reception of Islamic visual culture by the northern Iberian kingdoms, by systematically comparing works of art from both sides and fleshing out their historical context. This study includes figurative and iconographic motifs, architectural forms, and even the spolia from constructions and Arabic inscriptions that were embedded in Christian buildings. The Islamic visual culture of al-Andalus was often transformed as it was recreated by Christian hands, bringing to the fore various nuances in the relationship between the two religious communities. Artistic transfer was conditioned by social coexistence between Christians and Muslims—both in the caliphate al-Andalus and in the northern realms—and military conflict. To approach the different ways in which Andalusi visual culture was received in the northern kingdoms, while embracing the vast diversity of case studies available, this book is divided into three thematic sections: Reinterpretation, Appropriation, and Artistic Transfers. This book will be of interest to scholars working in art history, visual culture, and medieval studies.
Christian-Muslim Relations, a Bibliographical History 10 (CMR 10), covering the Ottoman and Safavid Empires in the period 1600-1700, is a further volume in a general history of relations between the two faiths from the seventh century to the early 20th century. It comprises a series of introductory essays and also the main body of detailed entries which treat all the works, surviving or lost, that have been recorded. These entries provide biographical details of the authors, descriptions and assessments of the works themselves, and complete accounts of manuscripts, editions, translations and studies. The result of collaboration between numerous leading scholars, CMR 10, along with the other volumes in this series, is intended as a basic tool for research in Christian-Muslim relations. Section Editors: Clinton Bennett, Luis F. Bernabé Pons, Jaco Beyers, Karoline Cook, Lejla Demiri, Martha Frederiks, David D. Grafton, Stanisław Grodź, Alan Guenther, Emma Loghin, Gordon Nickel, Claire Norton, Reza Pourjavady, Douglas Pratt, Radu Păun, Peter Riddell, Umar Ryad, Mehdi Sajid, Cornelia Soldat, Karel Steenbrink, Davide Tacchini, Ann Thomson, Carsten Walbiner
Christian-Muslim Relations, a Bibliographical History 9 (CMR 9) covering Western and Southern Europe in the period 1600-1700 is a further volume in a general history of relations between the two faiths from the seventh century to the early 20th century. It comprises a series of introductory essays and also the main body of detailed entries which treat all the works, surviving or lost, that have been recorded. These entries provide biographical details of the authors, descriptions and assessments of the works themselves, and complete accounts of manuscripts, editions, translations and studies. The result of collaboration between numerous leading scholars, CMR 9, along with the other volumes in this series is intended as a basic tool for research in Christian-Muslim relations. Section Editors: Clinton Bennett, Luis F. Bernabé Pons, Jaco Beyers, Karoline Cook, Lejla Demiri, Martha Frederiks, David D. Grafton, Stanisław Grodź, Alan Guenther, Emma Loghin, Gordon Nickel, Claire Norton, Reza Pourjavady, Douglas Pratt, Radu Păun, Peter Riddell, Umar Ryad, Mehdi Sajid, Cornelia Soldat, Karel Steenbrink, Davide Tacchini, Ann Thomson, Carsten Walbiner.
During the sixteenth and seventeenth centuries, Spanish authorities restricted emigration to the Americas to those who could prove they had been Catholic for at least three generations. In doing so, they hoped to instill religious orthodoxy in the colonies and believed Muslim converts, or Moriscos, would hamper efforts to convert indigenous people to Catholicism. Nevertheless, Moriscos secretly made the treacherous journey across the ocean, settling in the forbidden territories and influencing the nature of Spanish colonialism. Once landed, Morisco men and women struggled to define and practice their religion or pursue their trades, all while experiencing increasing anxiety about their place in the emerging Spanish empire. Many Moriscos were accused by authorities of descending from Muslims or practicing Islam in secret and turned to the courts to assert their legitimacy. Forbidden Passages is the first book to document and evaluate the impact of Moriscos in the early modern Americas. Through close examination of sources that few historians have used—some one hundred cases of individuals brought before the secular, ecclesiastical, and inquisitorial courts—Karoline P. Cook shows how legislation and attitudes toward Moriscos in Spain assumed new forms and meanings in colonial Spanish America. Moriscos became not simply individuals struggling to join a community that was increasingly hostile to them but also symbols that sparked authorities' fears about maintaining religious purity in the face of territorial expansion. Cook reveals how Morisco emigrants shined a light on the complicated question of what it meant to be Spanish in the New World.
Images of crosses, the Virgin Mary, and Christ, among other devotional objects, pervaded nearly every aspect of public and private life in early modern Spain, but they were also a point of contention between Christian and Muslim cultures. Writers of narrative fiction, theatre, and poetry were attuned to these debates, and religious imagery played an important role in how early modern writers chose to portray relations between Christians and Muslims. Drawing on a wide variety of literary genres as well as other textual and visual sources – including historical chronicles, travel memoirs, captives’ testimonies, and paintings – Catherine Infante traces the references to religious visual culture and the responses they incited in cross-confessional negotiations. She reveals some of the anxieties about what it meant to belong to different ethnic or religious communities and how these communities interacted with each other within the fluid boundaries of the Mediterranean world. Focusing on the religious image as a point of contact between individuals of diverse beliefs and practices, The Arts of Encounter presents an original and necessary perspective on how Christian-Muslim relations were perceived and conveyed in print.