Freshly Pressed: Aijaz, Scarlatta


Freshly Pressed highlights books written or edited by members of the University of Michigan-Dearborn community.

Freshly Pressed highlights books written or edited by members of the University of Michigan-Dearborn community. Faculty, staff, alumni and students are welcome to submit their recently published titles to this column by e-mailing Reporter editor Kate Malicke at with a summary of the book, a high-resolution JPEG of the book’s cover and a URL where readers can learn more, if applicable.

Associate Professor of Philosophy Imran Aijaz’s book, Islam: A Contemporary Philosophical Investigation, has been published by Routledge Press.

From the publisher: Islam: A Contemporary Philosophical Investigation guides readers through a careful study of the relationship between faith and reason in Islam. In particular, it pays close attention to religious objections to philosophizing about Islam, arguments for and against Islamic belief, and the rationality of Islamic belief in light of contemporary philosophical issues, such as problems of religious diversity, evil and religious doubt. This text is ideal for upper-level undergraduates and graduate students seeking an objective, philosophical introduction to Islam, a subject of increasing interest in classrooms around the world.

French Professor and Associate Dean Gabriella Scarlatta’s book, The Disperata, from Medieval Italy to Renaissance France, was published last year by Medieval Institute Publications.

From the publisher: Rich with morose invectives, the Italian lyric genre of the disperata builds toward a crescendo of despair, with the speakers damning and condemning their beloved, their enemy, their destiny, Fortune, Love, and often themselves. Although Petrarch and Petrarchism have been amply analyzed as fertile sources for late Renaissance poets in France, the influence of the Italian disperata in this context has yet to receive proper scholarly attention. This study explores how the language and themes of the disperata, including hopelessness, death, suicide, doomed love, collective trauma, and damnations – are creatively adopted by several generations of poets from its beginning in the Northern and Southern Italian courts, to France, at the court of the late Valois, where the disperata found great success as a prolific source of imitation.

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